M&R Professional Screen Printing Series

Authored by Joe Clarke and Colleen C. Lynch

1
Level

Textiles

M&R Professional Screen Printing Series

Authored by Joe Clarke and Colleen C. Lynch

1
Level

Textiles

M&R Professional Screen Printing Series: Level 1 2001 by First Aid Ltd. All rights reserved. No part of this book shall be reproduced, stored in a retrieval system, or transmitted by any means (electronic, mechanical, photocopying, recording, or otherwise) without written permission from the authors. No patent liability is assumed with respect to the use of the information contained herein. Although every precaution has been taken in the preparation of this book, the publisher and authors assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of the information contained herein. First Printing March 2001 English Version Book Part # MAN-PSPM-1.0 English Version CD Part # MAN-PSPM-1.0/CD Trademarks All terms mentioned in this book that are known to be trademarks, service marks or copyrights have been so acknowledged. The publisher and authors can not attest to the accuracy of this information. Use of a term in this book should not be regarded as affecting the validity of any trademark, service mark or copyright. Warning and Disclaimer Every effort has been made to make this book as accurate as possible. In an effort to limit the length of the book, a certain level of general screen print knowledge has been assumed. The reader should use due diligence before using any of the information contained in this book in a production setting. The reader should also refer to the M&R Operators Manual for additional press information. The information contained in this book is on an as is basis. The authors and publisher shall have neither liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained in this book, CD or web site postings. Publisher M&R Printing Equipment Project Manager First Aid Ltd. Authors Joe Clarke Colleen C. Lynch Editor Colleen C. Lynch with direction from Mark Bucanan Photography Steve LaMonica CAD Drawings Frank Laurendi Cover Design Colleen C. Lynch Interior Design & Layout Colleen C. Lynch

Forward
Dear Friend: The garment printing industry was the cornerstone of our company. I felt the best way to express our gratitude was to help you use your equipment to its full potential whether or not it is M&R's brand name. The CD (or book) you are reading is our way of saying thank you for your support. M&R, is comitted to raising the level of education avaiable to the screen printer, therefore any profits derived from sales of this manual will be returned to the industry. Our intention with this handbook is education, not advertising, so to keep ourselves honest, we contracted an independent consulting firm, First Aid Ltd. to author this publication, under our supervision.
Richard C. Hoffman, CEO

The 250-page handbook is divided into of six chapters, Screens, Stencils, Inks, Press Calibration, Flashing and Costs. All of our experience indicates that if these six areas are in order, increased productivity, quality and profits are the natural result. The handbook offers straight foreword "how-to" information. It is unique in the fact that its recommendations for all major elements of production, dovetail into a functional system for success. The information is current and most has never before been published. It has elements of value for veterans as well as newcomers to our industry. This English version of our Professional Screen-Printing Series is another in a line of educational products and services. Please let us know what you think of the handbook. You may contact Mike Sweers at 1-800-888-8888 or if calling from outside the continental US or wanting to contact by mail or email, please refer to the contact information listed in the acknowledgements section of this manual. Thank you for being a part of this growing industry.

Sincerely,

Richard C. Hoffman CEO M&R Printing Equipment

About The Authors

First Aid Ltd. was the project manager for this book. First Aid has been in business since January 1998. They are a consulting firm that specializes in process-screen printing, but are diverse enough to offer services in the areas of research and new product development, sales and marketing, production costing, site location, hands-on training and seminars. First Aids expertise extends far beyond the covers of this book. They assist their clients with on-site training and implementation of HiRes AccuColor printing on dark or light textiles, graphics process printing, high tolerance printing and the newest addition, direct printing of large format lenticular images. First Aid Ltd. has been able to differentiate itself by using math, science and statistics as the foundation for a screen printing system. Over the years they have accumulated a library of calculations and algorithms used to set specifications. They have integrated these into an internal software package they use to assist their clients in setting customized specifications for the screen printing system. You will find the results of many of those algorithms in the charts and tables found in this manual. Joe Clarke, Technical Director for First Aid Ltd. was primary author. He has been involved in the screen-print industry for over 32 years. He owned his own print shop at a young age, has had the opportunity to work in an ink lab and design equipment for the industry. He has aided mesh , emulsion, ink, and equipment manufacturers in product design. He has given numerous seminars, writes monthly for several trade magazines, is a three-time Swormstedt Award winner for best technical paper of the year and is a member of the Academy of Screen Print Technology. Colleen C. Lynch, President of First Aid Ltd. was co-author, editor and layout design. She has over ten years experience in the screen-print industry. She was part of the startup team for DYNAMESH Inc., American distribution for NBC Mills mesh. She has gained additional experience working as National Sales Manager for Chicago Decal Company and Vice President for Toyo America. Her areas of expertise within the industry lie in HiRes AccuColor separations, screens and stencils. Ms. Lynch is responsible for the systematic approach First Aid has taken to the process of screen screen printing.

Acknowledgements
For a project of this scope to come to fruition, it takes the cooperation and aide of many people. The following companies and people came to our aide, either in providing materials, photographs or illustrations, data, and testing. We are grateful for their contributions and support. Adam Scaife of Pleiger Plastics for technical additions. Al Anderson of the S.G.I.A. for technical insights. Autotype USA, for technical input and use of their Exposure Calculator. Cary Pucilla of SaatiPrint (formerly Majestech) for digital files and tech sheets. Dale Scott of Liberty Screen Print for High Density samples. Dynamesh, manufacturers of screen mesh, for technical data and mesh samples. Encore Engineering for digital files and tech support on squeegees and sharpeners. Genevive Munden for technical input and comments on the ink chapter. Gino and Bernadette Battaglia of Blue Chicago for permission to use photos of the John Carroll Doyle tee shirt images. Haden-Horne Ink Company for ink samples and specifications on plastisols. Hunter Labs for the Hunter L*a*b* Color Solid. First Aid Ltd. for their Mesh Counter films, Printers Color Wheel and various charts, graphs and flowcharts. Kiwo for extensive lab work, photomicrographs and technical support. Laura Unterbrink of Kiwo USA for patience even the third time we lost her digital files. M&R Printing Equipment: Mike Sweers for unwavering assistance on an abundance of issues, scanning and retouching photos, building custom files, retrieving archived information, proof reading and editing and a variety of other tasks too numerous to mention. Without Mike's involvement, the quality of the handbook would have been compromised. Frank Laurendi constructed original CAD drawings that lend clarity and scale precision to the handbook. He supplied files on many components of the presses and process. Andy Oleson and Jeff Hefner for screens both prepared and loaned and their total cooperation, Joel Glassner for being sure that the showroom press was in spec and ready for a photo session or research use. Mike Correnti for art and sympathy for anyone wanting to put Microsoft tables and Excel graphs into Quark. Special thanks to those who proofed and edited the manuscripts; it is this group who insures clarity and accuracy.

Acknowledgements
SaatiPrint for technical assistance and permission to show their metering equipment. Mark Buchanan, Executive Editor, Printwear Magazine for journalistic guidance. Murakami Screen USA for photomicrographs, technical data and mesh samples. National Business Media, Printwear Magazine, for supplying digital files of artwork. NuArc Inc. for photographs and technical information. Photo Research for the Color Chromaticity Diagram. Pleiger Plastics for squeegee blades used in our testing and supplemental tech support. Promotions Chicago for printed samples. Spike Wolf of Target Graphics for appearing in the photo inspecting HiRes AccuColor garments. Steve LaMonica for an abundance of high quality photography with quick copy turnaround. Stretch Devices for roller frames used in the photos and during testing. Ross Balfour of SaatiPrint for technical guidance on stencil coating methods. Target Graphics Ltd. for Hi-Res AccuColor tee shirts and permission to use their specifications.

Contact Information
Autotype USA Schaumburg, IL. 60173 Phone 847-303-5900 Fax 847-303-5225 Toll Free 800-323-0632 www. autotype-americas.com Blue Chicago 736 N. Clark St. Chicago, IL 60601 Phone 312-642-6261 Fax 312-661-1814 Dynamesh 155 W. Hawthorne Unit 4E

West Chicago, IL. 601 Phone 630-293-5454 Fax 630-293-5647 Toll Free 800-235-5056 www.dynamesh.com Encore Engineering 5404 Ashton Ct. Suite D Sarasota FL. 34233 Phone 941-921-5138 Fax 941-921-5434 Toll Free 800-922-5138 www.encoreenginc.com First Aid Ltd. 1314 Elm St. St. Charles IL. 60174-4131 Phone 630-377-7699

Fax 630-377-6867 E-mail firstaidltd@aol.com www.FirstAidLimited.com Haden-Horne Ink Company 2471 North Forest Dr. Marietta, GA. 30062 Phone 770-642-7773 Fax 770-649-7687 E-mail bhaden@mindspring.com Hunter Labs Reston, VA. 22090 Phone 703-471-6870 Fax 703-4714237 E-mail bob@hunterlab.com www.hunterlab.com

Acknowledgements
KNC Marketing 86 Irongate Dr. Waldorf, MD 20602 Phone 301-843-1896 Fax 301-843-7649 Toll Free 800-627-8264 wwwknc.com Kiwo USA 1929 Marvin Cir. Seabrook, TX. 77586 Phone 281-474-9777 Fax 281-474-7325 Toll Free 800-549-6872 www.kiwo.com Liberty Screen Print 320 Gibson Dr. Madison, NC. 27025 Phone 336-548-6071 Fax 336-548-1866 www.libertyembroidery@aol. com M&R Printing Equipment 1 N 372 Main St. Glen Ellyn, IL 60134 Phone 630-858-6101 Fax 630-858-6134 Toll Free 800-736-7431 www.mrprint.com Murakami Screen USA 745 Monterey Pass Rd. Monterey Park, CA 91754 Phone 323-980-0662 Fax 323-980-0659 Toll Free 800-562-3534 E-mail walt@murakami.com www.murakamiscreen.com NuArc Inc. 6200 W. Howard St. Niles, IL 60714 Phone 847-967-4400 Fax 847-967-9664 Toll Free 800-962-8883 E-mail sales@nuarc.com www.nuarc.com Photo Research 9731 Topanga Canyon Place Chatsworth, CA 91311-4135 Phone 818-341-5151 Fax 818-341-7070 www.photresearch.com Pleiger Plastics Company Crile Rd. P. O. Box 1271 Washington, PA 15301 Phone 724-228-2244 Fax 724-228-2253 Toll Free 800-753-4437 E-mail pleiger@sgi.net www.pleiger.com Printwear Magazine National Business Media 2800 W. Midway Blvd. Broomfield, CO 80020 Phone 303-469-0424 Fax 303-469-5730 E-mail pweditor@nbm www.nbm.com/printwear Promotions Chicago 904 Westgate St. Addison, IL. 60101 Phone 630-628-7890 Fax 630-628-7891 E-mail promochi@corecom.net S.G.I.A. 10015 Main St. Fairfax, VA. 22031 Phone 703-385-1335 Fax 703-273-0456 www.sgia.org SaatiPrint USA (formerly Majestech ) 247 Route 100 P.O. Box 440 Somers, NY 10589 Phone 914-232-7781 Fax 914-232-4004 Toll Free 800-431-2200 E-mail majestech@ majestech.com www.saati.com Steve LaMonica Photographer 2623 N. Drake Ave. Chicago, IL 60647 Phone 773-772-6895 Fax 773-772-6896 E-mail slam35@aol.com Stretch Devices 3401 North I Street Philadelphia, PA 19134 Phone 215-739-3000 Fax 215-739-3011 Toll Free 800-523-3694 Target Graphics 29 W 707 North Aurora Rd. Naperville, IL 60563 Phone 630-357-7468 Fax 630-357-8287 Toll Free 800-689-6461 E-mail targetgrpx@aol.com

Table Of Contents
Chapter One: Screens.............................................................1.1 Chapter Two: Stencils..............................................................2.1 Chapter Three: Inks....................................................................3.1 Chapter Four: Press Calibration.............................................4.1 Chapter Five: Flashing.............................................................5.1 Chapter Six: Costing..............................................................6.1

Terminator

Ultimate

Challenger II

Formula

Gauntlet R/S
Part Number MAN-PSPM-1.0

Gauntlet II

I. Published Specifications Are Not All The Same Clarification of Published Specifications II. Properties Of Test Screen Fabric Applications Specifications Ink Transfer Tensioned Geometry Halftone Suitability Conclusion III. Frame Properties Frame Size Size Exceptions Frame Strength And Flatness Conclusion IV. Tensioning Goals Low Elongation Screen Fabric Tensioning Instructions V. Troubleshooting Screen Life Mesh Bursting Mesh Ripping Tension Counter Measures Tension Limits Tension And Off-Contact Distance C

Chapter

SCREENS

Published Specifications Are Not All The Same

Whether you look at a mesh-manufacturers catalogue, its invoices, hang tags or the coding on its products selvage, you get specifications. These are intended to give you some level of certification that the mesh youre looking for is the mesh you receivebut these specifications can be misleading if you do not have enough information. The mesh, in fact, may be far from the product you are expecting. It is important to note that are no standards in the way mesh manufacturers offer up specifications. Some information is nominal, some theoretical, some actually measured. You will want to know the tolerance of nominal and measured information, the equipment used to take measurements, if it was measured or calculated in metric or English measurements and if any conversions were madetheoretical specifications should come with the calculations, for you to know how they arrived at that information. Specifications are based on relaxed mesh or pre-woven threads. This is not in itself a problem, unless you try to use this information to determine angles to avoid moir or to predict ink mileage. When selecting mesh, this pre-woven, relaxed-mesh information should be used as comparative information only. However, the variance in how the specifications are given make even this a challenge. We urge you to carefully read the specification sheets. They will generally divulge methods used to gather the data. If youre still uncertain, talk to the manufacturer. It should be able to give you all the information you require. When youve gathered sufficient information, you will need to make up your own comparison sheet that uses that same calculations for all the theoretic specifications, and includes the tolerances of nominal or measured specifications. This is the only way to get a fair comparison between mesh manufacturers. There are four types of information available on screen mesh: nominal, theoretical, measured and absent. Each of these has some utility, but all are vastly different. Nominal means the name and has little to do with the precise dimension or measurement. For example, a 230 mesh is seldom an exact 230; just as infrequently as it is the same count in the warp as in the weft. Find out the tolerance of the mesh count. This will tell you the range you can expect when ordering this count. And remember, this specification is for relaxednon-tensioned mesh. Similarly, low-elongation (LE) is not as much a specification as it is a general tendency for the mesh to develop tension with relatively lower elongation.
PAGE 1 . 3

Screens

You require the meshs SS (stress-strain) curve to know this specification.

Chapter 1

Theoretical information is that which is developed as a calculation. Many theoretic values are calculated using a pre-woven thread diameter and a nominal mesh count. For example, a 41-micron thread diameter is listed (and shown) as a cylindrical cross section but, in fact, it is not a circle at all. The thread diameter becomes oval-shaped during weaving and finishingone reason why the fabric thickness is always less than two times the thread diameter. Measured information is based on actual measurements taken on either the bolt or the mill-run of fabricin its relaxed state. It is not to be taken as absolute, for there are variances in the measurement processes; it can be an average, or other approximation. For example, some manufacturers list the measured fabric thickness with each bolt of mesh. Fabric thickness is a composite of thread diameter; mesh count and finishing conditions, so it is difficult to calculate. While this it is by far the most informative data that can be given, here again, you will want to be aware of the tolerance of this measurement. Absent information is, obviously, the worst of all. What you dont know can hurt you. Do you remember the twill-mesh reality of a few years ago? No one (outside of the weavers) knew that twill mesh was being arbitrarily substituted for plain-woven goods! Todays missing data pertains to the stress/strain relationship of the meshits SS curve. It has been deemed by some as trivial but, as an example, if the SS is imbalanced, you have the option to lose tension during a press run or to end up with moir in your halftone work. Your choice. The real world knows that, If it aint broke (not costing you money), dont fix it. Butfixing or not fixing asidewouldnt you agree that its critical to know if your materials are broken? If not, you may make a decision based on wrong (or absent) information and, in such a case, there is no predicting the results. The truths upon which youve been relying may be based upon a lack of quality information. Thus, we encourage you to get live specifications whenever possible so that you can set standards and predict your printed results. We help you begin this by identifying basic screen-mesh properties. Note that specific details are omitted in these definitionswith reasonbut are covered later in this chapter. Clarification of Published Specifications As we stated above, all such data has utility. The point is that you should not confuse the name of something with its size or other physical property. Many of the
PAGE 1 . 4

published specifications are useful for one purposecomparison. For example, if you have one mesh with a 45-micron thread and another of the same count but a larger mesh opening, it is fair to plan on improved ink flow and, perhaps, higher elongation. A problem arises if and when specification names are taken as precision measurements. Below we explain the utility of each of the most frequently used specification names. Mesh count is nominal and defines the target number of threads and openings per linear inch in either direction. In the real world, the count is not too often exactly on target and rarely is the count the same in both directions. This is not an inherent problem. Rather, the manufacturers have a specification (or tolerance range) within which they work and, at times, that range may be inadequate for our purposes. Also, as the fabric is stretched, the count literally drops, based on the amount of elongation. The on-press mesh count is the only one that really matters to you. Thus, mesh count should never be relied upon as a singular entity for the reasons above and those to follow. Thread diameter is nominal and defines the target diameter of the filament as they arrive from the yarn spinner; there is no guarantee that your bolt was composed of precisely the named thread diameter. Once the fabric is woven then finished, the threads are oval in shape. They do not significantly change diameters in the tensioning process, particularly with low-elongation fabric. The thread diameter sets the range for fabric thickness and, other than that, only connects the stencil to the frame. If there was another way to secure the stencil to the frame, you would want to eliminate the mesh, because the threads only get in the way. Thinner threads offer far less interference in the forms of printed resolution, ink passage, moir and artifacts, but are not as strong as thicker threads.
Figure 1.1 Shows a line drawing of a fabric thread in its cross sectional form. The yarn (thread) is spun in a cylindrical form. In the manufacturing and finishing processes it becomes ovaled. The thread diameter is given as though the yarn was still cylindrical in form

Screens

TD

Virgin Thread Diameter

PAGE 1 . 5

Mesh opening is theoretical and defines the averagenot the minimum distance between adjacent threads. It is not often square as indicated by the fact that the mesh count is not usually equal, warp to weft. Further, it becomes enlarged as the fabric is stretched. You should monitor the stretched distance (percentage of elongation) of your fabric in order to know just how un-square the mesh opening has become. When the mesh opening is large enough, it allows the ink to pass with a minimum of effort. There are three ways to enhance this: coarser mesh, higher elongation, or thinner, stronger threads. We recommend the last of these options.

Chapter 1
Figure 1.2 This a photomicrograph of a thin thread 300 S fabric compliments of Murakami Screen US Inc. The dark areas of the photo represent the mesh opening. Even though this fabric would print very well, you can readily see that the opening is quite small. Just imagine the aperture if the thread was a T or HD, ink passage becomes very restricted.

Thread Opening

300s Mesh

Percent open area is theoretical and, unfortunately, is based on a calculation that uses a thread diameter that is round and a mesh opening that is square. Again, as a comparative factor used prior to in-plant testing, this may have some utility. Generally, we recommend the highest percentage of open area per mesh count. While it does have a proportional relationship to the flow rate and pressure drop of the mesh, as a single entity this measurement offers little more than comparative value. Theoretical ink volume is, again, very theoretical, as its name suggests. This specification is best used for general comparison of ink volume within a single count of differing diameters. Any more creative comparisons become less accurate. Fabric thickness is offered in two forms, nominal and measured. Naturally, the measured form should be far more accurate (depending on the accuracy of the test methods versus the variance from nominal data used to established the
PAGE 1 . 6

target). Fabric thickness roughly describes the length of the tunnel through which you will have to pump ink. This is of considerable significance to the tee shirt printer for a few reasons; white constitutes approximately 45% of the inks used. It must be deposited in a sufficient film thickness to be opaque. It has a dilatent (shear thickening) flow property so the harder you push it the less it flows. Whites like a large opening and a thin tunnel. Weave type options include plain and twill weaves, as well as multi-filament, which is infrequently used today. Plain woven is the only fabric that should be used for high quality screen-printing. Most of the manufacturers and or dealers have at one time or another swapped twill weave fabric for plain and not announced this to the public. The attitude may have been that the screen printer will never know the difference. But the fact is the printer will notice a difference, but identifying the mistaken twill mesh as the culprit, can be time consuming and difficult. You should be aware of the problems twill weave fabric causes and develop a system for verification of your incoming materials. Generally it is precisely the wrong type of geometry, a small opening and thick threads. Blue Jeans should be twill woven for strength, but for printability screen mesh should not.

Screens

Plain Woven Mesh Construction End View of Weft Threads

Figure 1.3 This a cross sectional view of plain-woven screen mesh. From the left, the warp yarns are separated and a weft yarn is shot between for the width of the bolt and held under tension. Next the warp yarns are again separated and are wrapped around the weft yarn. Next the process is shown as it continues. Drawings courtesy of Printwear Magazine.

Properties Of Test Screen Fabric

Now let us build on the basic information we have identified. We offer a model (refer to figures 1.4 and 1.5) based on information of the theoretical category measured SS curves, and measured fabric thickness. The model is not intended as an absolute, but to give you a variety of perspectives to help illustrate the causeand-effect relationship of the mesh specifications. The table in figure 1.4 lists comparative factors of four test mesh counts used in
PAGE 1 . 7

How We Developed The Mesh Model

We selected fabrics that were lowelongation, whenever possible, and obtained SS data to support our choices. We selected fabric that had the selvage edge on both sides so we knew our bolt was not cut from a larger woven width. The filament in all possible cases were colored to reduce light scatter (halation) during exposure. The threads were thin as was the fabric thickness, and they all had a proportionately large mesh opening. Such geometry allows the fast and unrestricted transfer of the thickest plastisols. The fabrics were all relatively flat to permit fast squeegee speeds. Finally, we published the model of the fabrics once they were tensioned, in order to make the information as real world as possible.

this manual (and explained on pages 1.8 through 1.14). The data below is computed after the noted percent elongation and resulting tension level. Some of the criteria used were a 65-lpi for modeling halftone equivalents and 10-ips (inches per second) squeegee speed for modeling pressure drop and flow rate. The SS information was based on 45 dyed mesh. Applications The four fabrics are 80/71, 150/45, 230/40 and 305/35 thread. These were chosen for a variety of reasons, including that they address a good cross section of printing needs and offer good mesh geometry. For inventory and real-world control, you will want to keep some distance between mesh counts and limit the number of counts you use. The mesh manufacturers usually use a single thread to weave four mesh counts; it is economical and provides a wide range of products from which you may choose. The thread diameters are nominalthat is, given a name. These are not absolute dimensions nor do they need to be. The tried and untrue mesh count is just that. It is rare that a published count is the actual number of threads, in either direction. Further, the count is not usually the same in warp and weft directions. If you are ordering strictly by the count of the mesh, you are probably getting a fabric with a thick thread and a small openingsuch is the least expensive for the weaver to manufacture. Last but definitely not least, the warp direction may not build tension as fast as the weft, and no tension meter will report that reality. All in all, you may not know what you are buying, particularly if your reference is the manufacturers catalog. We will, however, try to help you get to the bottom of the mesh.

Chapter 1

The 80/71 can be used for athletic printing, high-density graphics, and metallic and puff-ink designs. It will deposit a thick-but-smooth layer of even the tackiest of inks with a minimum of squeegee force. The 150/45, in the context of these four fabrics, is the workhorse; it will print most wet-on-wet applications with a reasonPAGE 1 . 8

able hand and drape. The print speed on this fabric is excellent. It is fine for the brightest of underbases and clears well on both fleece and jersey-knit T's. The 230/40 mesh offers finer detail, softer hand but higher print speed only with the proper ink, intended for high-speed, automatic printing. Naturally, the ink mileage on this fabric is excellent and it performs well for overprinted colors. The 305/35 is traditionally intended for halftones and process color, but even serves well as an underbase for high-detail work. Its flow rate and pressure drop allow it to fill the knit in the garment at high speeds and still provide details for 65-lpi and above. Many of the specifications in the tables below are defined as nominal. These are target dimensions and, per manufacturer, are to be within a published or unpublished range. The use of this data allows us to anticipate results of certain printing conditions with a minimum of testing prior to production. From this data we have constructed models of printing performance. The model is a simulation of what can be expected from a fabric with particular properties. We encourage you to test for yourself and determine the best product for your needs. Meanwhile, use the tables below to jump start your process. Following is a detailed explanation of the variables for the first six columnsthe mesh specifications of Part 1.
Mesh Model Part 1
Mesh Count Actual Mesh Count Ink Height Percent Elongation Open Area Fabric Thickness Flow Rate .223 .126 .102 .070 Thread Diameter Mesh Opening. Pressure Drop 3.5% 10.3% 19.8% 27.6% N/cm Fabric Color White Amber Amber Amber

Screens

80S 150S 230S 305T

71m 45m 40m 35m

25 23 25 24

3.9ST 5.6LE 5.0LE 6.1LE

77 141 216 291

119 72 60 53

247 124 70 48

60% 54% 41% 34%

4.0 2.5 1.5 1.0

Figure 1.4 This table lists the properties of our four sample screens (details follow in the text). The 80S for example has a 71 micron thread diameter, was tensioned to 25 Newtons per square centimeter, the ST elongation fabric was taken to 3.9% elongation. The actual count as woven and finished was a 77 average mesh. The cloth was white with a thickness of 119 microns, a mesh opening of 247 microns and an open area of 60%. Its nominal ink height is 0.004 or four mils, with a flow rate of 0.223 L/cm2/S and a pressure drop of 3.5%. Note that the flow rate and pressure drop can be used at this stage for comparative purposes. They are used more appropriately after the mesh is tensioned.

PAGE 1 . 9

Chapter 1
Mesh Model Part 2
Open Dot FlatnessAngle Moir Frequency .033 .016 .013 .012 77 141 216 291 6.4 4.1 5.0 3.9 < 1.0% < 0.5% < 0.5% < 0.5% 120 88 106 110 272 145 83 57 11.3 12.9 17.4 19.8 ------50.5 37.2 ---19% 62% 77% 84.3 79.8 75.3 72.0 ---27.5 17.5 12.9 7.6 24.9 54.9 89.8

Figure 1.5 This is a list of the performance properties of the four sample mesh counts. Row Three shows a 216 mesh as tensioned. The stress-strain variance was less than 1/2%, which is agreeable. It has a cross section of 106 with an actual open area of 83 microns with a flatness angle of 17.4. The open dot area for a 65-line halftone is 50.5%, substantially greater than the 41% open area. Its geometry represents a tonal range of 62% (excluding the stencil) and the optimal angle of intersection is 75.3. Symmetry is found at 17.5 to forestall radial moir and its tendency to cause moir based on the 65 Lpi is 0.013. The ideal Lpi for ink transfer and symmetrical balance is 54.9 lines per inch.

Specifications These are the terms applied to the mesh that you buy. As we described above, many of them are nominalor simply namesand should not be mistaken for dimensions or specifications. Depending on the manufacturer, you may be able to get actual measurementsor even a Certificate of Analysis (C of A) to specify the measurements on the actual bolt of material. Mesh count means the number of threads and openings in a linear inch in either direction. It is nominal because the fabric is frequently of a different count than labeled. For example, the 305 mesh may have a weft count equal to 301 and a warp count equal to 306 so that the stress strain can be balanced. (refer to page 1.16 for explanation). The letter designation next to the nominal count is a relative diameter of the thread and should be used as a reference only; for real-world comparisons use the thread diameter data provided in microns instead. Thread diameter refers to a nominal thread diameter in microns. You should realize that this name is based on a cylindrical (unwoven) filament. The actual filament become ovaled during the weaving process. So, if you realize that the thread acts to obstruct details and ink passage, then coarse-thread fabrics are even worse than this data might suggest. Further, there is little change in thread diameter at any tension level. N/cm (Newton per square centimeter) is a measure of the average tension of the test screen in either direction, based on the percent elongation to keep a balanced SS relationship (refer to page 1.15). This tension level was a result of a percentage of elongation, which allowed us to maintain a square mesh
PAGE 1 . 10

Ideal Lpi

StressStrain Variance

Actual Mesh Opening

Cross Section

MoirAngle

TonalRange

AlphaAngle

StressStrain

Actual Mesh Count

Screens

opening as well as a balance of strain on both the warp and weft.

Percent. elongation is the percentage of elongation for warp and weft threads, required to take the mesh to a Figure 1.6 This is a photomicrograph compliments of Murakami Screen US Inc. It is an specified tenenlargement of a 420 S mesh count. The count should be given in both the warp and weft directions for two reasons; the mesh count from all manufacturers is nominal, it is rarely a persion level. If fect 420. Secondly the warp and weft do not always match identically. You want the manufacthe fabric is balturer to tell you both actual, not published, mesh counts. If these are too different or move from anced, this perthe target too far, you may have problems with moir and registration. centage is the same in both the warp and weft directions. Otherwise, you compromise the shape of the opening or the tension between stroke and non-stroke directions (refer to figure 1.24, on page 1.30 for details.)
a. Virgin-before weaving.
Figure 1.7 This is a cross sectional illustration of the changes in the thread diameter from virgin to finished to tensioned. The top illustration shows the relationship when the threads are cylindrical, in a virgin state. The middle illustration shows the mesh as finished in manufacturing. The threads have been ovaled, there fore the opening is smaller. The bottom illustration shows the results of the mesh once it is tensioned. The opening has increased in size. Note that the theoretical data does not show such differences but when used as intended it is very representative of the relationships between one mesh and another related mesh.

b. Finishedafter weaving and finishing.

c. Tensioned-after stretching.

PAGE 1 . 11

Low elongation is noted in the same column and indicates the modulus of the fabricwe refer to it colloquially as low elongation. Note that it is less a specification than a tendency, and each manufacturers LE properties differ. LE fabric actually has a higher modulus of elasticity; that is, it develops tension at a higher rate. This is the only type of fabric that you should use for high-quality printing. Not only does it get to tension faster, but it retains that tension level better than traditional (lower modulus) mesh. With low-elongation fabric, the purpose of retensioning became less of a factor in a high quality print and the concept of work hardening screen mesh applied to conventional mesh much more than low elongation (refer to figure 1.8 below for details).

Chapter 1

Figure 1.8 This is a graph of four relative possibilities of percentage of elongation. The vertical axis indicates tension while the horizontal axis indicates stretch or elongation as a percentage. From left to right, the first mesh is a low elongation fabric at a relatively high-tension level. The next is a low elongation fabric taken to a low-tension level. Number three is a fabric taken to high tension that required a great deal of stretch. And the last fabric is a high elongation fabric that was never taken to high tension. For stable on press geometry and consistent openings, one or two are best suited. The level of tension should be to support the proper off-contact distance refer to page ___ for details. Graph compliments of Printwear Magazine.

Actual mesh count is based on the nominal count, and percentage of elongation. For example, if the fabric starts at 230 and is elongated five percent, the resultant count would be 218.5. As elongation increases, the count continues to drop. This is critical information when you are aligning images specific to the mesh in order to eliminate radial moir or fluctuations in printed-line thickness (see figure 1.36 on page). Fabric color is most often a factor with finer mesh counts (that have dyed filament), while the coarser counts are typically white (undyed). The colored filament inhibit light scatter or halation from costing detail in the image. The manuPAGE 1 . 12

facturer logic is that the dying allows you a greater window of exposure latitude at a longer exposure time. Additional manufacturer logic is that no one (so they think) wants finer detail on lower mesh counts. Be wary of both. Some fabrics lose their SS balance because theyve been dyed as woven material; and many of the white fabrics are not production friendly when it comes to detail. Fabric width (not listed in chart) may, if changed, also affect your SS balance. Once you set your standards, do not arbitrarily switch widths without corresponding data on the balance of that width. Also, you want to be sure the manufacturer does not cut your cloth from a wider bolt or you will never know what you have. Ink Transfer The next six elements deal with the ability of the tensioned mesh to transfer ink both at a high rate of speed and with minimal obstructions. Note that there is an ink height but no theoretical ink volume listed. The reason is that the specific volume is greatly affected by the fabric mass of the garment. Fabric thickness is the thickness of the woven cloth. Depending on the manufacturer it may be a measured (versus computed) number. This aspect has a primary influence on the ink-deposit height and smoothness of the print. You want the fabric to be as thin as possible so that it is easier to pump ink through the tunnel of the mesh, as measured by its thickness. This is most important when the ink in question is white. White ink is shear thickeningits viscosity actually increases under shearand does not travel well or far on its own. Thus, the solution for white ink is as thin a mesh as possible.
Mesh Opening
Figure 1.9 This is a cross sectional illustration of the basic geometry of the fabric. Labeled is the ovaled thread diameters the mesh opening and the fabric thickness. Since the fabric thickness is based on the initial (cylindrical) thread diameter and the crimp angle, it may wise to have an actual measurement taken from time to time. PAGE 1 . 13

Screens

Fabric Thickness

Ovaled Thread Diameter

Mesh open is the average dimension from thread to thread prior to tensioning. Once the fabric is stretched, the mesh opening becomes enlarged. The opening increases in direct proportion to the elongation, but it is not proportional to the measured tension level. A larger opening allows larger-particle and higher tack-level inks to transfer. Open area is a percentage of mesh area. As a single entity, it has little relevance to the printer other than the rule of thumb that bigger is better in virtually all cases. In our context, it allows a comparison to the Open dot area, below. The open dot area is calculated for the 230 and 305 fabrics only. You may note from the table that the percentage open area runs nearly parallel to pressure drop (but it is not a linear relationship).

Chapter 1

Nominal ink height is the nominal ink height in mils, deposited by the tensioned mesh. The substrates, the inks themselves and the press settings also affect the ink height. The numbers shown are reasonable and can be used for comparison, but are not intended for precise mileage calculations. Actual thickness is quite specific to the ink used. Flow rate is expressed in liters per square centimeter per second and is a key factor in the printing process. It is the rate that a quantity of ink can transfer through the mesh, and is bounded by the geometry of the tensioned mesh. Our model is based on a blade speed of 10 inches per second. You want to select a mesh with as high a flow rate as possible, per actual fabric thickness. Pressure drop lists the percentage of change in hydrostatic pressure on the ink due to the mesh geometry and based on a squeegee interface greater than 1/MC.Graphically, the mesh is shaped like an hourglass, wide open on the top and on the bottom with a narrow passage in the middle. It is the particular shape of the hourglass that must be dealt with. Either by using ink that is very thin to accommodate the hourglass or by better mesh selection. It is preferable to have a lower pressure-drop number. This number can be used to compare various mesh
Mesh Model Part 2
Moir Frequency .033 .016 .013 .012 Open Dot Ideal Lpi 7.6 24.9 54.9 89.8 FlatnessAngle StressStrain Variance Actual Mesh Opening Cross Section MoirAngle ---27.5 17.5 12.9 TonalRange ---19% 62% 77% AlphaAngle 84.3 79.8 75.3 72.0 StressStrain 6.4 4.1 5.0 3.9 Actual Mesh Count 77 141 216 291

< 1.0% < 0.5% < 0.5% < 0.5%

120 88 106 110

272 145 83 57

11.3 12.9 17.4 19.8

------50.5 37.2

PAGE 1 . 14

specifications. A lower-pressure-drop mesh will allow a more bodied ink to transfer through it. Our model is based on a blade speed of 10 inches per second. Mesh Model Part 2, has been repeated on the previous page for your convenience and lists the same four mesh counts and considers the 230 and the 305 mesh counts for process color printing of a 65-lpi halftone. Tensioned Geometry The printer needs to know the nature of the mesh on press. To help you view this, we obtained the SS curves on the mesh so that we could build the model. If the tension level were changed, the model would be quite different. For example if the tension were less, the elongation would be less. The mesh opening would be smaller and all attributes would change. Actual count of the mesh is taken after the percentage of elongation. Note that it is imperative that the elongation is the same in both directions and that the actual mesh count is known prior to tensioning. As the elongation or tension increases, the count is reduced. Strain -Stress is a coefficient indicating how rapidly the mesh will develop tension at our area of interest. It is the strain - tension, divided by the stress - the percentage of elongation. For example, if the mesh takes five percent elongation to reach 20-N/cm, the S/S is 4.0. A four percent to the same tension is a 5.0. The higher number indicates that it develops tension with less stretch. This index should be compared to the SS variance as higher modulus fabrics typically have a smaller window of opportunity.
Component
Match 1 2 3 MC N/cm Match %E %E 6.0 6.0 6.0

Screens

Warp
N/cm 26.0 26.0 26.0 MC 282 282 282 %E 7.5 4.3 6.0

Weft
N/cm 32.2 26.0 26.5 MC 282 291 286 %E 1.5 1.7 ----

Variance
N/cm 6.8 ---0.5 MC ---9.0 4.0

Result
Due to: Register and/or Tension Loss Frequency and Radial Moir Register and/or Radial Moir

Figure 1.10 There are three possibilities for tensioning mesh and they are shown in the table above. The nominal mesh count is a 305 / 35. The actual woven count is 299-warp by 304-weft. Number one is to match the MC (mesh count); two is to match N/cm (the tension); and number three is to match the %E (percentage of elongation) of the mesh. The first heading is warp and under it is %E (percentage of elongation); N/cm (tension); and MC (mesh count). The point is that if you option for one with an unbalanced mesh the other two will suffer. The variance column shows how much in error the mesh will be. If you match the mesh count,but the elongation and tension are far offyou will experience tension loss on press. If you match the tension, but the elongation and mesh count are far offyou may experience frequency and radial moir. If you match the elongation, but the tension and mesh count are offyou may experience frequency moir. None of these choices is ideal because the mesh is imbalanced. PAGE 1 . 15

SS variance is the disparity between warp and weft threads and their tension levels at equal elongation. The variance is taken at the tension level we used for the test screens. Equal elongation allows us to maintain a square opening and also to reduce registration jumps during production. A good rule of thumb is to hold warp and weft to one and a half percent variance, none of the mesh manufacturers do this every time with all counts and widths.
Murakami SS Curve 150S Mesh
50

Chapter 1
Figure 1.10 This is a reproduction of a stress strain curve provided by Murakami Screen US Inc. The particular mesh is a 150 S thread (per inch) the horizontal axis shows the percentage of elongation from 1% to 8%. The vertical axis shows the tension in Newton per square centimeter from 0 to 50 N/cm. The dense black line shows both the warp and the weft curves. For example if you stretch 5% in either direction, the resulting tension will be 32 N/cm. This is an ideal situation when both warp and weft are superimposed. It means that the square ness of the woven fabric can be maintained during tensioning. If the two curves do not overlap, equal stretch will not result in equal tension. The result is a distorted mesh opening and tension loss on press.

45

40

Warp and weft curves are precisely superimposed.

35

30

25

20

15

Cross Section (given in 000s) takes the thread diameter and the threads per inch and computes fabric density per lineal inch. When evaluated with the S/S it allows accurate comparison of the elastic nature of the fabric and it is unaffected by the screen dimensions. You will note from the table that even though the counts vary radically, the cross sections are similar.

Tension (N/cm^2)
PAGE 1 . 16

Actual opening is a measure of the mesh opening at the noted percentage 1 2 3 4 5 6 7 8 of elongation. It increases Percentage of Elongation as the fabric is elongated and allows passage of the ink particulate a larger opening (per mesh count) is always preferable. This dimension is critical to the transfer of long, or needle-like particles like the pigments used for blues and blacks. If those colors are hanging up in the screen, particularly around the perimeter of the image, check the actual open area of the mesh.
5 0

10

Flatness angle is a measure of the slope of the threads, which is a constraint to squeegee speed and stencil Rz (flatness). You can expect to see a better Rz (stencil flatness) with a flatter woven screen mesh. Of course this angle should be as low as possible and established once the fabric is tensioned. A flatter fabric is always preferable and when used in conjunction with high yield ink, permits higher squeegee speeds.

Screens
Flatness Angle

Figure 1.12 This drawing shows a cross sectional illustration of the flatness angle of the mesh. The flatness angle is based on the relative pitch of the warp thread as shown. Flatter mesh permits higher squeegee speeds and allows a superior stencil Rz (flatness).

Halftone Suitability The proper selection of a screen fabric is perhaps never more critical than when used in the production of process colors. The next six elements deal with the fabrics inherent ability to hold a dot, tonal range and to run free of moir for a given Lpi. Open dot is the average open dot area on the mesh specified. In our case we have used a 65 Lpi halftone with a computed minimum highlight diameter. The dot is placed directly upon the thread, knuckle and opening and the three areas are evaluated and then the average is taken. This shows a relationship between the frequencies of the mesh and the halftone and should never be less than the percentage of open area of the mesh. Tonal range is based on a computed highlight and shadow dot diameters and is always far short of the practical range but allows fair comparison between similar mesh geometry. The longest tonal range possible is preferable for most halftone printing. Alpha angle describes that relationship between the mesh and any geometric shape (lines, dots. squares) and their optimal reference. It is based on the elongated mesh and is the best angle to avoid fluctuations in the reproduction of the image. For process color printing it is usually advantageous to put the chaining
PAGE 1 . 17

direction cyan halftone at this reference. The reason for the cyan is that it is low luminosity (very easy to see), it will always run full range in the image and its pigment particles are the most difficult to transfer through the mesh.

Chapter 1

a.

b. Percent Open Dot Area

c.

Figure 1.13 This drawing illustrates the gamut of possible dot positions of a minimum computed highlight dot superimposed over the screen mesh in question. In each of three positions the area of the exposed dot is computed. The three positions are a. Centered over a mesh opening. b. Centered over a knuckle and c. Centered over the middle of a thread. Since all other positions will fall between these constraints, the average of the three is taken. The percentage should always be greater than the open mesh area calculations. This verifies a proper relationship between the minimum dot and the mesh geometry. It is much more relevant to the selection of Lpi and screen mesh than comparing a dot to a thread.

Moir angle is computed from the tensioned fabric and creates a symmetrical balance of the chaining and non-chaining direction of the halftone, to eliminate radial moir in process color. It can be used with the Alpha Angle to compute ideal relationships between halftones and mesh frequencies. Note that although there are other forms of moir, radial is one of the most prevalent and this angle, when used on a balanced screen mesh eliminates this facet of moir. Moir frequency is the frequency of the moir based on zero angling of the halftone on the elongated mesh. It is used to compare the halftone to the Lpi for similar mesh counts. A lower frequency is desirable and below 0.002 it is virtually non-existent. Note that although none of the test cases are below 0.002 with a 65 Lpi halftone, that is why the dots are precisely angled with respect to the mesh. Ideal Lpi is computed for the least risk of both frequency and radial moir between the mesh and the line count. It is derived from the Alpha angle and the Moir Angle, and is achieved if and when the two angles match each other. This mesh to Lpi relationship has a symmetrical relationship that corresponds with the optimal angle for image resolution.
PAGE 1 . 18

Screens
Film Positive Dot Chaining Direction

Square Mesh Opening

Figure 1.14 This drawing illustrates a screen, a overlaid film positive with an angle marked with a dotted line. Several assumptions have been made for the symmetry angle to eliminate radial moir, first that the mesh is tensioned at a right angle to the frame. Second that the warp and weft threads are tensioned to nearly the same count. If these are the case, then there is an angle that will eliminate radial moir. These are calculated in the tables above.

Moir Symmetry Angle

Conclusion You will want to select fabrics comparable or superior to these in specification and performance. They were chosen specifically to offer high quality prints, and to accept virtually all ink systems at top press speeds. Your fabrics should be plain woven, as flat as possible, of a consistent width with dyed monofilament polyester. The SS curve should be in balance and the square opening should remain square after tensioning. Per count the mesh should have a large opening, a thin thread which produces a thin fabric. This type of geometry will optimize the transfer of ink and the accuracy of the image. Get a certificate of analysis on the fabric that you purchase. It lists the specifications of the specific bolt that you paid for, not just nominal dimensions from a book - the Certificate of Analysis is the real world story. You will find the most durable fabrics do not print very well and the best screens come from fabrics that need to be handled with care. Care consists of calibrating the press (refer to page 4.15), proper off-contact and peel settings (refer to page 4.10), proper squeegee and flood bar settings (refer to page 4.25) and proper tenPAGE 1 . 19

Chapter 1
How To Instructions

Identifying Quality Fabric

Verify the following properties: 1. Monofilament polyester. 2. Low elongation. 3. Plain weave. 4. Dyed filament. 5. Thin thread.

sioning (refer to page 1.33). The choice is yours. You can have both a long lasting screen and high quality print results if you apply the methods contained in this manual.

Frame Properties

The selection of a frame is often compromised by the desire to cut costs, but noth6. Balanced SS curve. ing could be further from the 7. Consistent width with selvage. truth. If you cut corners on All other performance properties will be in check if the the size, strength or quality of above seven are specified. the framethe decision will come back to haunt you with press problems. Following we offer a detailed recipe for frame selection to optimize productivity and deliver quality print results fron the press. Frame Size The standard frame sizes for M&R presses are engineered and specified to allow the highest quality printing with easy registration on your press. It is unwise to standardize on a size other than what is recommended. Frames that are too large will not fit properly in the screen holders front-to-rear and side-to-side, nor allow room for micro-registration. Frames that are too small often intended to save the company money in mesh and initial investment, but usually do just the opposite.
Ink Well And Registration

Ink well is the minimum distance between the end of the squeegee and the sidewall of the frame. It is the minimum of both the squeegee length (side-to-side ink well) as well as squeegee stroke length (front-to-rear ink well). As the size of the ink well decreases, accurate registration becomes less likely (at a fixed offcontact distance) and the pressure between the end and the midpoint of the blade becomes less balanced. To maintain the registration tolerance with smaller ink wells the off contact must be reduced, however this often leads to ink transfer problems between the end and the midpoint of the blade, even with a high tensioned screen.
PAGE 1 . 20

Screens
Squeegee Holder Side Ink Well Screen Frame Rear Ink Well Squeegee Blade Front Ink Well

Consequences Of Using Smaller Frames

Smaller length or width frames will force the screen holders to sit on the platen or hang suspended at an angle and result in extreme print problems such as blurring, smearing and premature mesh fatigue. Using smaller frames than the recommended size, (squeegee and off-contact distance being constant) will cause the following problems: 1. Force the frame holders to sit on the platens. 2. Reduce the range of acceptable off-contact settings. 3. Force you to print a smaller image. 4. Will cause the mesh and stencil to fatigue and breakdown faster. 5. Make registration very difficult.

Platen Surface

Off Contact Distance Essentials of Press Set-Up

Figure 1.15 This drawing illustrates the platen, screen frame and squeegee and the main components of the following section. You may want to review Chapter 5 for detailed discussions of these components from an on-press perspective.

Image registration is composed of two elements: accuracy and repeatability. Accuracy is the extent to which the original has been duplicated in size. This is not usually a concern for the garment printer. For example if the image is to be 18-inches long, we dont often care if it turns out to be 18 1/8-inches long but we do care that all of the colors that build the image line up. That is if they all turn out to be precisely 18 1/8-inches long. If you are running close tolerance work, process color or cut-piece stock to be sewn after printing, the off-contact setting is crucial (refer to page 4.4 for complete details on offcontact distances).
Image Tolerance

The table (figure 1.18, page 1.23) and graph (figure 1.19, page 1.24) present a nominal off-contact distance of 1/8 (0.125) and various sized inkwells to demonstrate what happens to the tolerance of the image as the size of the ink well diminishes. For a working reference we have listed the Lpi or ruling of the halftone that can be run at these settings. Bear in mind that
PAGE 1 . 21

Chapter 1

Schematic For Standard Gauntlet Frame

Figure 1.16 This is a schematic of the platen, image sizes and frame dimensions for a standard Gauntlet Press. With each press comes a maintenance manual and included is a drawing for the specifications on your particular press. It is wise to adhere to the maximum dimension allowable for the format of your press

the constraint to image registration tolerance is not usually the M&R press but the screen settings. As you can see from the chart in figure 1.19, the registration tolerance improves as the off-contact is reduced, but two things must happen to reduce the off-contact distance: First, the tension level must permit the reduction in the off-contact distance or image stretch, in the stroke direction will occur. Second, as the distance is reduced, it becomes more difficult to equalize the pressure between the ends and the midpoint of the blade: unequal deposits may result. The off contact is best run at the maximum within tolerance levels: run as high as you and still
PAGE 1 . 22

Screens

Schematic For Standard Challenger Frame

Figure 1.17 This is a Challenger Press schematic for image positioning on a standard frame size. Shipped with every press is a detailed maintenance manual with schematics particular to your press size and configuration. For the highest image tolerance, it is best to use the standard screen size recommended for your press.

1/8-inch (0.125) Off-Contact Distance. Ink Well

Tolerance in Mils Lpi Equivalent

1.0
7.7 22

1.5
5.1 33

2.0
3.9 45

2.5
3.1 56

3.0
2.6 67

3.5
2.2 79

4.0
1.9 90

4.5
1.7 101

Figure 1.18 This table lists the relative combinations of minimum inkwell, halftone Lpi and image tolerance at an offcontact distance of one-eighth of an inch. The inkwells often have four different dimensions, front, rear, left and right. The only inkwell dimension that counts in the tolerance of the image is the smallest one of the four. It is this one that causes the greatest stretch of the image and can make or break registration. From the top row the ink well is given in increments of one-half inch from one-inch to four and one-half inches. At one-eighth of an inch off-contact distance the tolerance in mils, is listed from 7.7 mils, to 1.7 mils, (0.0077 to 0.0017). The bottom row lists the relative Lpi printable with that level of distortion. For example at one-eighth of an inch off-contact distance, and a 3.5-inch minimum ink well, the tolerance is 2.2 mils, (0.0022) and the stretch will permit a 79 Lpi halftone to be printed. PAGE 1 . 23

meet the image tolerance required. When the off-contact distance is sufficient the ink deposit becomes more consistent.
At 1/8" Ink Well and Image Tolerance
9.0

Chapter 1
Figure 1.19 This illustrates the relationship between image tolerance and ink well for an arbitrary offcontact distance of oneeighth of an inch. As the ink well becomes larger, the image tolerance improves. For example if you are at 1.5-inches minimum ink well the best case tolerance is approximately 5.0 mils, (0.005). But if you leave an ample distance of 4.0inches, the tolerance possible is just more than 2.0 mils,. The point is to warn you that a larger frame and a smaller squeegee are always wise for a close tolerance print.

Image Tolerance in Mils

8.0 7.0 6.0 5.0 4.0 3.0 2.0 1.0 0.0 1.0 1.5 2.0 2.5 3.0 3.5 4.0 4.5

At 1/8" as the inkwell increases, the image tolerance improves.

Ink Well in Inches

The ink well and tolerance for the maximum image size have been noted for both the Gauntlet and Challenger at an off-contact distance of 1/8-inch (0.125) above and for 1/16-inch (0.063) below. To show the difference in a closer off-contact setting, the table below has the same inkwells and resulting tolerances with an off-contact distance of 1/16-inch (0.063). If you choose to run a closer off-contact distance it will become even more critical to have your press properly calibrated. And as in the case above, you will need to adjust tension levels and be prepared to contend with the fact that ink transfer from the end of the blade to its midpoint will be compromised (refer to page 4.40 for details). If you have established the proper conditions you may be able to run at a closer off-contact distance. For example at a distance of 1/16-inch but you cannot just arbitrarily drop the off-contact distance. Be sure that you have checked the list below to see if any changes will permit closer off-contact distance. 1. 2. 3. 4.
PAGE 1 . 24

Larger frame. Shorter squeegee. Shorter squeegee stroke. Higher tension.

The next graph uses a nominal 1/16-inch off-contact distance and compares various ink well sizes to the respective image tolerance. The range is from an extremely close one-inch ink well to four and one half inches, which is also impractical. Note that the Lpi listed is for reference and is far superior to the one-eighth inch off-contact distance table above.
1/16-inch (0.063) Off-Contact Distance

Screens
Ink Well
Tolerance in Mils Lpi Equivalent

1.0
1.9 89

1.5
1.3 133

2.0
0.9 x

2.5
0.7 x

3.0
0.6 x

3.5
0.5 x

4.0
0.4 x

4.5
0.4 x

Figure 1.20 This is similar to the table above but with an off-contact distance of 1/16th-inch (0.063). With this closer distance the tolerance improves greatly. For example at a minimum inkwell of 1.5-inches the tolerance is 1.3 mils, (0.0013) but do not be misled, there is more to the story. At this close off-contact distance it is difficult to develop contact pressure between the blade and the mesh at the midpoint of the blade. Even the highest tension levels improve but do not guarantee the contact pressure. You may want to review chapter five before you make this decision.

The graph in figure 1.22, includes both the 1/8-inch and the 1/16-inch off-contact distances so that you can compare the inkwell and image tolerances for both. Obviously the closer distance has appeal when shown in this context. Be wary of being too close, the telltale signs are image stretch and poor ink transfer, particularly in the center of the mesh. M&R equipment will allow you to run in the real world as close as 0.020-inch with proper calibration but beware that closer is not better for most cases. You will need to assess your inks, press calibration, tension level, and squeegee parameters in addition to the frame size. Size Exceptions Note that there are several options for frame sizes on the Challenger and Challenger II. The Challenger series presses are available with long stroke options on some or all press heads. This means that a standard 22-inch stroke length Challenger can be fitted to print a 30-inch or 36-inch stroke length. There are opportunities and limitations to how you can configure the press. If you want a longer stroke than standard, reduce the width of the image and frame. If you need to maintain the width and increase the length, it is possible by restricting the number of colors used. Customer service will be happy to assist you in understanding all possible configurations to make your Challenger series press even more versatile.

PAGE 1 . 25

Figure 1.21 This is similar to the last chart; this one compares inkwell and image tolerance but this time 2.0 at an off-contact distance of 1.8 At 1/16-inch, as the inkwell increases in 1/16th-inch (0.0016). 1.6 The curve shows that as the size, the image tolerance improves. 1.4 ink well increases the tolerance improves. At approxi1.2 mately four inches the toler1.0 ance has reached diminishing 0.8 returns; a larger inkwell 0.6 only makes a marginal 0.4 improvement in tolerance. 0.2 Note that screen stretch due to inkwell and off-contact 0.0 distance is 0.4 mils, 1.0 1.5 2.0 2.5 3.0 3.5 4.0 4.5 (0.0004) with this off-contact setting. Move cautiously Ink well in Inches though, off-contact is only half of the issue, contact pressure between the blade and the mesh does better with greater off-contact distances. Review chapter five for details on offcontact inkwells and image tolerances.

At 1/16" Ink Well and Image Tolerance

Chapter 1

Figure 1.22 For your convenience we have plotted both off-contact distances on the same 9.0 chart. Note that the rel8.0 ative shape of the curves is similar because they 7.0 At 1/8-inch off-contact distance are both bound by the 6.0 reality of improved tol5.0 erance with a larger (minimum) inkwell. 4.0 However the closer off3.0 contact setting shows a 2.0 marked improvement at At 1/16-inch off-contact distance any inkwell distance. 1.0 But as we have cau0.0 tioned you above, do not 1.0 1.5 2.0 2.5 3.0 3.5 4.0 4.5 jump to the conclusion that you should set the Ink Well in Inches off-contact distance closer. Review chapter five for the details on setting the proper distance. The first thing that this chart should tell you is that you need a full sized screen and the minimum squeegee length for high tolerance work.

Image tolerance in Mils

At 1/8" & 1/16" Ink Well and Image Tolerance

PAGE 1 . 26

Image Tolerance in Mils

Screens
Frame Strength And Flatness The frame you select should have the integrity to withstand your intended tension level. You want the frame to resist weakness in two areas: torsion twisting and internal deflection. Any twisting in the corners causes the frame to be racked or not flat. This condition creates the same problem as a press that is not calibrated. Worse yet if you put such a frame into a press that is not calibrated: the only predictable result is too much downtime. There is no type of squeegee, off-contact setting, peel rate or tension level that will solve this problem. If you are using a roller frame you can and should be careful to flatten it prior to tensioning. If your tensioning procedures cause the frame to rack again, contact the manufacturer. If you take the racking out of a frame that has already been tensioned, you are creating isolated stresses on the mesh. This stress will come back to haunt you in the form of a rip or tension loss or Figure 1.23 This illustrates some of the opportunities on a Challenger Press. There is a standard screen width for each Challenger Press and it is listed in the operations manual. both.
However there are a variety of sizes that you can use if your image permits fewer colors or a frame that is even more rectangular. If your image is long and narrow, for example a long vertical stripe, you may be able to use a frame that is narrower side to side but longer than standard front to rear. Also if you can run fewer colors you can utilize frames that are wider side-to-side and longer front to rear than the standard. As you can see in the illustration, a frame that is only 28-inches long could be as wide as 32-inches, far over the standard. If you have a need to print oversized and have long stroke possibilities, call us at the factory and let us help you engineer your printing.

If your frame deflects internally it will create a pulsing action during production. It will be as though you rapidly took the mesh to a higher tension level and then released it, over and over again. This may occur at the rate of 800 or 900 times per hour on a Challenger or Gauntlet press and will typically jump as much as three to four N/cm. When the frame has bowed inward it pulses right at the edge of the mesh and will lead to a rip at the center of the longer frame wall. This jump from static (resting) tension to dynamic (printing) tension causes a proportional tension loss and will have to be dealt with. There are a few options:
PAGE 1 . 27

Keeping R oller Frames Flat

Typically the warp(threads run the length of the bolt) allows a greater percentage of elongation than the weft. Weft (threads run the width of the bolt) are lower elongation and require more force. This fact may lead the roller frames. Roller frames may have a tendency to twist while you are tensioning them. It seems as though you need to be an octopus to hold down the other side while you are tightening the bolts. An easy solution to this dilemma is to mount a U-shaped aluminum channel to the end of your stretching table. Remember to measure the highest part of the frame when determining the size of the channel and add room to line the channel with foam to protect the mesh. Now just slide the far end of the frame you are tensioning into the channel. It will keep the frame flat no matter how high you take the tension.

1. Find a more robust frame.

Chapter 1

2. Reduce the level of tension. 3. Reduce the squeegee width and stroke. 4. Reduce the off-contact distance. Conclusion Too often the decision is made to use a screen that is too small to function properly on the press. The logic is that one can save mesh, emulsion, exposure times and print speed. These supposed savings are an illusion; ironically mesh dollars are actually lost. The frame must be flat and not bow inward in production or image quality and mesh life are immediately lost. Remember that the press is your racecar, your way to make money, do nothing to slow it down. Smaller frames will do just that.

Tensioning
In this country, most tee shirt printers are using retensionable roller frames for automatic production. The reason is that most of the inks are very tacky and require a great deal of force to transfer. Most of the frames are small for the image size leaving very small inkwells. Finally too few of the presses are regularly calibrated. With these conditions, retentioning can be a blessing. But whatever your conditions or frame type, there are certain obligations that the tensioning results should meet or exceed. This is the focus of the following section.

Goals There are five fundamental goals that should be met in the tensioning process. Excluding any of these can be the cause of severe problems on press. 1. Maintain a square mesh opening. 2. Avoid any areas of isolated stress. 3. Allow the off-contact distance to achieve image tolerance.

PAGE 1 . 28

Screens
4. Permit zero screen lag. 5. Equalize contact pressure between blade and mesh.
Maintain Square Opening

Selecting The Proper Frame

Choose one that: 1. Is as wide as the press will permit. 2. Is as long in the stroke direction as the press will

How To Instructions

permit. It should be the goal of the fabric weavers to offer a fab3. Is as robust as the frame design permits and the tenric that can maintain a square sion level requires. mesh opening. The primary 4. Does not twist at its corners. reason is that a distorted 5. Does not bow inward. shape weakens the mesh, creates misregistration, leads to 6. Holds the mesh securely. probable moir, and wont 7. Maintains a square mesh opening at any tension transfer ink as well. level. Unfortunately the tension 8. Does not create isolated stress. meter never really knows if the opening is square, because 9. Permits off-contact for image tolerance. it is not designed or intended 10. Prints with zero mesh lag. to pick up the difference. 11. Helps equalize blade/mesh contact pressure. Below are details on percentage of elongation as a technique to be used in addition to reading tension with a meter. There is an accurate method of testing to find the final actual (tensioned) mesh count in either direction and that is a TPI (thread per inch) mesh counter (refer to page 1.43 for photo). By laying the test film on the tensioned fabric, you can evaluate whether or not your opening is square. Simply backlight the screen as on a light table and lay the film on the impression side. Rotate the film until interference fringes are precisely horizontal. This moir pattern will allow you to identify the specific mesh count.

Avoid Areas Of Isolated Stress

As elongation increased to achieve higher and higher tension levels, the need to reduce stress in the corners became more obvious. This technique called softening, keeps the mesh from ripping but can be used to improve overall tension levels and make them more consistent. Use a tension meter at an angle and slide it from the corner to the center of the mesh. (see figure 1.38 on page 1.44). Watch for any spikes in the reading. If the tension level of the mesh is higher
PAGE 1 . 29

near the corner than it is in the center, that area will be the first to rip. (Refer to page ___ for details). Further, if there are high stress areas then there are also low stress areas. These are the ones that lose tension during the production run.
1. Square Opening- 2. Rectangular Opening- 3. Rectangular OpeningImbalanced Weave Imbalanced Elongation Ideal Weave

Chapter 1

Figure 1.24 This drawing illustrates three possible mesh openings and counts. The far left illustration shows a mesh with a square opening. This one would have the same mesh count for warp and weft and would by definition be ideal. The second drawing shows a rectangular opening as woven. Its opening is not square so the count differs between warp and weft It will be very difficult to tension this mesh properly. The third drawing shows a tensioned version of the rectangular weave it is unlikely that you can achieve a moir free screen that will not lose tension on press with this mesh.

C Allow The Off-Contact Distance To Achieve Image Tolerance

The tension level of the mesh must be sufficient to allow an off-contact distance that accommodates the tolerance of the images that you print (refer to page 1.49 for complete details). The off-contact distance is constrained by the minimum ink well, screen tension and image tolerance. The first two are internal issues; the third will be obvious to your customer. Tension and ink well should accommodate the tolerances that your customer needs. Tension must be high enough to prevent image stretch and yet low enough to prevent reproportioning and fabric degradation.
Figure 1.25 This drawing illustrates the problem of isolated stress. Lets say that at the corner of the frame the tension level is 10 N/cm because the corner was softened to prevent ripping during tensioning. Then we check the tension a little further from the corner and get a 20 N/cm reading. Further from the corner again and we peak at 25 N/cm and still further we return to 20 N/cm. This screen will most assuredly rip at the 25 N/cm line. Once the isolated stress exists the ratio of stress to strain (stretch to tension) diminishes. The solution is to progressively soften the corners as described on page 1.35. Drawing compliments of Screen Graphics Magazine.

Frame
l 10 N/CM2 l 20 N/CM2 8 25 N/CM Isolated Stress l 22 N/CM l
2 2 2

20 N/CM

Isolated Stress Tension Loss & Ultimate Burst at 25 N/CM2

PAGE 1 . 30

Screens
Permit Zero Screen Mesh Lag

Due to the off-contact distance, after the squeegee passes, the screen should snap back at the same rate as the squeegee speed at the midpoint of the stroke. This condition is called zero screen lag . Negative lag occurs with excessive tension, peel rates or off-contact distances. Positive lag (snap back slower than the blade speed) occurs with the opposite settings and is far more obvious and equally destructive (see figure 1.26). If you have the proper tension for your press conditions you will automatically get zero screen lag. If you have positive lag raise the off contact, negative lag lower the off contact. This is a temporary fix only, to be used when you are on the press. To eliminate the problem next time you tension screens (press condition remaining constant) for positive lag, increase tension levels, for negative lag, decrease tension levels.
Figure 1.26 illustrates the range of lag possible just by varying the offcontact distance. The top drawing shows the frame too close to the platen and the result is positive mesh lagthe screen will tend to stick to the platen and not snap back. It will be particularly noticeable in the central areas as mesh marks or will force you to use thin ink. The middle drawing shows the ideal, as the stroke continues the speed at which the screen lifts is precisely the same as the squeegee speedthe condition is zero mesh lag. The bottom drawing shows negative mesh lag. It is due to overtension for the off-contact distance. It will be obvious by ripped and burst screens.

a. Positive Lag

b. Zero Lag

c. Negative Lag

Equalize Contact Pressure Between Blade And Mesh

It is not in the purview of the tension level to singularly reach the targeted cpntact pressure. The inkwell must be large enough to allow equal pressure between
PAGE 1 . 31

Chapter 1
How To Instructions

Checking For Isolated Stress

To check for isolated stress follow these steps: 1. Tension your screen as normal. 2. Put the meter in the corner, facing outward. 3. Angle the meter approximately 45. 4. Slide the meter slowly toward the center of the frame. 5. Tap the meter periodically if necessary. 6. Observe for any high points in the tension. 7. If so these are areas of isolated stress. 8. They should be relieved before you go to press.

the blade and mesh across the entire surface of the blade. Unfortunately this size inkwell is an anomaly it doesnt happen too often. It is worst when the tension extremetoo high or too low. Low Elongation Screen Fabric With the introduction of low elongation screen fabric, all of the rules in the print shop changed. Low elongation is the generic name for mesh that has been manufactured to have a higher modulus of elasticity. That means that with less stretch, you get higher tension and supposedly less tension loss prior to and on press.

You should be aware that low elongation is not a specific entity; it is only a tendency for a screen mesh to develop more tension with less elongation. There are some fabrics for example, that develop high tension with 2% elongation. While other manufacturers of the same count may not achieve that tension until 5%. At first blush, the first one seems better, more for less, right? But it may not be so in the real world. The faster the fabric develops tension the more likely it is to suffer from two issues: First it may have an imbalanced SS after tensioning because of a smaller window of opportunity. Second that it may tend to lose that tension faster on press. Yes with retensionable frames, you can just pull it back up but the only thing that gets satisfied with this doctoring is the tension meter. The mesh opening will become erratic leading to progressive moir and radial moir. You will want to compare the rate that the mesh develops tension to the variance of the warp and weft SS curve (refer to figure 1.15 and page 1.16 for complete details).
PAGE 1 . 32

Screens
LE Versus Conventional Fabric

Because the operator can achieve tension with less elongation, even if the SS curve is not balanced, it will perform better than conventional on press. There is less need to stage tensioning, (relax, tension, relax and so on) due to less elasticity of the fabric. The mesh manufacturers as well as the SPTF have studied rapid tensioning and the findings indicate minute advantages in retention of the initial tension levels with staged tensioning. The rule of thumb is that you will lose about 20 percent of the original tension in the first 72 hours and then the fabric will stabilize. With less elasticity you will want to run closer off-contact distances (refer to figure 1.39 on page 1.50 for details) and in doing so, you will see even more stable tension on press. Finally, the need to retention is reduced for all of the above reasons. All in all low elongation fabric is the only way to go but two caveats: You will still need a fabric that has a balanced SS-curve and it should be properly handled on press. Abuse on press with squeegee pressure and off contact extremes can fatigue and destroy even the best LE meshes. Tensioning Instructions Building a screen is the foundation of your screen print process. You cannot correct the shortcomings with the stencil or on the press. This is the time to be sure you have a good system in place and follow it, even when you are under the gun to get production out the back door. Any corners cut in this process will come back to haunt you during the press run. Review the section on the cost of press downtime (see page6.35) if you have any doubts.
Fabric Orientation

Lo w Elongation
With low elongation fabric you should expect: v v v v v Higher tension with lower elongation. Less need to stage tensioning. More tension stability overall. Less tension loss on press, with proper press conditions. Less need to retention. You must insist upon: v v Consistent mesh counts for warp and weft. Balanced SS-curved before and after elongation.

There are a lot of fish stories about which direction warp and weft should be orientated. Here is the real world truth: If the fabric is SS balanced with one and a half percent or less variance, (refer to page 1.29 for details) and the frame is square, then it would never matter. The practice of orienting the weft threads parallel to the stroke direction was to hedge ones bet with a fabric that was imbalanced. You would have additional
PAGE 1 . 33

Mesh On A Bias
If you are prone to running mesh on a bias we can probably save you a lot of mesh money. Refer to Chapter Two on stencils and you may find all of your detail needs are met by proper stencil methods, not by the mesh count or usually its orientation. If you do need to bias as in the case of finely woven goods with a series of thin straight opaque lines, angle the mesh to the *Alpha as shown on page 1.19. You will want to insure that your fabric has close to the same count for both warp and weft. This square mesh geometry allows you to run lines (or rows of dots) with a minimum of interference. Further, look at the flatness of the fabric that you are using. The stencil can be far flatter and hold far better detail if the mesh starts out flat. Finally, look into the thickness of thread that you are using and select the thinnest one for the count that you need. *The Alpha angle ranges between 68 and 74 degrees, depending on the mesh count, thread diameter and percent of elongation.

stretch in the warp direction, so to stretch it parallel to the squeegee direction insured more imbalance in the mesh openings and excessive stretch in the image.

Chapter 1

We highly recommend that you use a balanced fabric and as for orientation, there are two avenues open: If you are a high tension advocate, real world mesh will more often than not have greater elongation in the warp direction. So you will want to run the warp parallel to the long sides of a Challenger or Gauntlet frame. (see figure 1.29). The reason is that the short dimension of a nominal automatic tee shirt frame resists deflection, about three times as much as the long side. For the same reason, you will want to tension the warp first. If you run at reasonable tension levels 25 to 35 N/cm, and you select balanced fabric, run the way that will give you the greatest yield from the bolt. But under no circumstances should you ever swap orientations. Once you pick an orientation, stick with it, any other antics and you are simply asking for trouble and inconsistency.
Tensioning Time

With the introduction and near universal acceptance of low elongation fabric the need for all the staging required for conventional fabric no longer exists. You will find that you reach diminishing returns for waiting beyond the time it takes to tension. Low elongation fabric will lose a nominal 20 percent of its tension level in the first 72 hours. (This percentage will vary according to manufacturer mesh specifications and user procedures). Two options will allow you to rapidly tension low elongation fabric tee-shirt screens. First, stage them in groups of five to ten. Progressively tension these in stages; initial, second and third stage for final tension. This gives the filament time to equalize and prevents a shock to the system. Second, you can accelerate the relaxing process by applying a weight to the center of the screens. A steel plate thick by the image dimensions can be laid upon the screen between tensioning. This weight applies far less force than the squeegee blade and it will cause the initial drop in tension to occur in far less time.

PAGE 1 . 34

Screens
Progressive Corner Softening

With the onslaught of retensionable frames and a meter in virtually every shop, came the need to soften the corners of the mesh. Public opinion has it so the mesh wont rip and of course this is the case. And if you simply poke the corners to the table top, this is all you are getting but know that the corner can do more for your tension level and stability than you might think. The issue is how much to soften to allow the tension to get as close to the center of the mesh as possible while maintaining a square opening throughout the surface of the mesh. (Note with stretch and glue frames, this step is not realistic and often not necessary). The illusion of energy transfer is just that, an illusion but do not think that because you pull the mesh evenly, that the result is equal over the entire frame area. The reality is that the mesh openings can be greater at the edges nearer the tension. If you have ever stretched a screen, you may have recognized the extreme case as stall or no change in tension with an increase in elongation. There are several causes of these phenomena where stress is no longer proportional to strain: 1. Imbalanced SS curves on the mesh. 2. Necking of the filament. 3. Stress beyond the elastic limit of the fabric.
Figure 1.27 This illustrates a filament that is defective due to polymer necking. If this occurs during the tensioning process, a ripped screen is guaranteed. The neck is the weakest part of the mesh and is caused by too much tension too fast. It can be evidenced as isolated stress also (see page 1.38 for details). Drawing courtesy of Printwear Magazine.

The next graph shows the results of image travel based upon retensionable frame travel. It might seem that if you rolled the frame -inch that that travel would translate to the center of the image and move inch of fabric, not so. If you look at the graph you will see that 100 percent of the travel equated to 35 percent movement at 15-inches (nearly the center of a Challenger frame). And 3/8-inch travel took the mesh tension to dangerous levels. (Note that the total edge travel was 0.375-inch or 3/8-inch and the frame was at 25 N/cm at the outset). As you can see from the graph, after half or 3/16-inch travel, there was little change in the meshs central areas. However, the mesh openings had been distort

PAGE 1 . 35

Chapter 1
Frame Travel VS Center Elongation at Half Challenger Distance
40% 35% 30% 25% 20% 15% 10% 5% 0% 100% Pct. Elongation at 15-inches

100% travel =3/8-inch or (0.375") =35% transfer efficiency.

Figure 1.28 This is a graph of the variance in the mesh geometry from the side of the frame to the center of the frame if the screen is retensioned. This factor can lead to all sorts of problems if the image happens to be process color. The result will be progressive moir because the mesh is no longer consistent and if the line count is high, moir is quite likely.

86%

73%

59%

45%

31%

18%

5%

Percent Elongation at the Frame Edge

Figure 1.29 This is a top view of a Stretch Devices Roller Frame and the lines for progressive softening are indicated. On a standard Challenger frame, run the warp threads parallel to the long side of the frame. Soften six-inches down the long side and five-inches along the short side. At the ends of the locking strip the slack should be 0.75-inches and 0.50-inches respectively. This will accomplish several things; First, there will be no isolated stress areas to lead to premature mesh failure. Second, the corner will be taut enough to coat with emulsion without leaving a puddle in the corner. Third, this technique permits more balanced mesh geometry and more consistent tension from corners to the center. Note the actual dimensions are based on the SS-curve and the actual elongation in the warp and weft firections.

edlarger nearer the point of tension and smaller in the interior of the frame. For those of you doing halftone printing this condition leads to progressive moir. So one of the keys to proper tensioning is to relax as much of the corner as is practical. On roller frames sized for Gauntlet and Challenger presses you will be able to soften 6-inches along the long side and 5 inches on the short side. (see figure 1.38).
PAGE 1 . 36

The amount parallel to the direction of stretch is based on the percentage of elongation of the fabric that you are using. This distance will be in the half inch to inch and a half areas for most fabrics and tension levels (refer to figure 1.29 for details). Once you have completed a frame, use the tension meter to check for isolated stress. Then use the Mesh Counter to check for distortion. If there is no isolated stress and no mesh distortion, the screen is ready to be coated for exposure, development and production.
Tensioning By Percentage Of Elongation

Screens
Tensioning With Progressive Corner Softening
1. Insert the mesh as prescribed by the manufacturer. 2. Use a black marker to scribe a line on the mesh against the channel for the locking strip. Do this on all four sides 3. Relax the mesh beginning at the end of the locking strip. 4. The depth of the softening should match the distance that you will turn the roller. 5. Proceed with softening toward the center of the roller. 6. Soften a distance of 6-inches for the long side of a *Challenger frame. 7. Soften a distance of 5-inches for the short side of a *Challenger frame. 8. Be sure that the black marker line is straight, without waves. How To Instructions

The best method of assuring a square opening is to tension 9. Repeat on all eight points. by percentage of elongation *Gauntlet frames are softened 5-inches on the long side of the mesh. Begin with a SS and 4-inches on the short side. curve, available from the mesh manufacturer, or at least find out what elongation should result in what tension. Get this information for both warp and weft directions. After loading the mesh into the frame, use a Sharpie marker to make fine lines on the screen at the following noted distances. Mark the Challenger screens at 22-inches apart, centered and going with the short length and 30-inches apart, centered and going with the long length, similarly the Gauntlet screens at 20inches and 28-inches (see figure 1.30). Use the next table (figure 1.31) to match a percentage of elongation to a distance stretched above and beyond the original marks. This table is not exclusive to a particular screen mesh it gives the relationship between elongation and tension for all fabrics. For example at 5 percent elongation the 22-inch marks on
PAGE 1 . 37

Chapter 1
30 31.5 22 23.1

Figure 1.30 This shows two frames with mesh prepared to tension by percentage of elongation. The mesh is inserted into the frame and opposing marks are placed on the top of the mesh near the edges of the frame. The fabric is then tensioned based on the Stress Strain curve and the warp and weft count. The resulting frame will have a balanced geometry to eliminate frequency moir and balanced tension for stability on press.

the Challenger mesh would have elongated to 23.1-inches and the 30-inch marks to 31.5-inches. We took one of our test fabrics and with the use of its SS curve and modeled the tensioning profile on the Challenger screens. The graphs below are an example of the weft (top graph) and warp (bottom graph) and their resultant tension when elongated to a specific percentage. Note the fabric was marked at 22-inches and 30-inches and the percentages came from the mesh manufacturers SS curves. The actual change in the distance between the marks is noted on the left vertical axis. The horizontal axis lists the percentages of elongation from 2 percent to 8 percent and immediately below the percentage is the tension that would result for our test case screen mesh. Caution: all mesh counts have an elastic limit and it is specific to the use and abuse that the fabric is subjected to. The table is not to suggest that any or all fabrics should be taken to a given percentage of elongation or resulting tension. That information should come from the fabric manufacturer. The table is to be
PAGE 1 . 38

used to show the relationship between mesh elongation and resulting tension for a specific 230 with a 40m thread with a near zero variance in the SS relationship of the warp and weft directions.
Press Frame Marks 2% 3% 4% 5% 6% 7% 8%

Screens
Challenger Gauntlet 26 35 23 31 22 30 20 28 22.4 30.6 20.4 28.5 22.6 30.9 20.6 28.8

22.8 31.2 20.8 29.1

23.1 31.5 21.0 29.4

23.3 31.8 21.2 29.6

23.5 32.1 21.4 29.9

23.7 32.4 21.6 30.2

Figure 1.31 This table lists the standard frame sizes for the Gauntlet and Challenger presses and their marks for tensioning by percentage of elongation. Lets say that you have a 26-inch by 35-inch Challenger frame and you have inserted and marked the mesh at 22-inches and 30-inches as described. Check the stress strain curve on the fabric; we will use the Murakami 150 Figure 1.10 on page 1.16 as an example. We see that a 5% elongation will take us to 30 N/cm tension. If that tension is sufficient to support the off-contact distance (refer to page 1.49 for details) then pull the 22-inch marks to 23.1-inches and the pull the 30-inch marks to 31.5-inches. (Note that the same elongation gives the same tension only when the mesh is balanced. It maintains the same count only when the initial count is equal or similar.)

The graphs below continue to describe the relationship between tension and percentage of elongation. They divide the process into two discrete steps of warp tension and weft tension.
230 / 40 Challenger Warp Elongation / Tension Elongation Beyond 30" Marks
33.0 32.5 32.0 31.5 31.0 30.5 30.0 29.5 29.0 2% 7.8 3% 13.7 4% 19.6 5% 23.5 6% 29.4 7% 35.3 8% 39.2 Example: as the marks were stretched from 30" to 31.5", the elongation was 5% of the 30" and the tension in the warp direction was 23.5N/cm^2.

Percentage Elongation Over Tension

Figure 1.32 This shows a fabric that has been stretched with the warp on the long dimension of the Challenger frame. The mesh was marked as described and then tensioned to a percentage of elongation to maintain a square opening and to achieve screen stability on press. PAGE 1 . 39

Chapter 1
230 / 40 Challenger Weft Elongation / Tension Elongation Beyond 22" Marks
24.5 24.0 23.5 23.0 22.5 22.0 21.5 21.0 2% 7.8 3% 13.7 4% 19.6 5% 23.5 6% 29.4 7% 35.3 8% 39.2 As the marks were stretched from 22" to 23.1", the elongation was 5% of the 22" and the tension in the weft direction was 23.5 N/cm^2.
Figure 1.33 This shows a fabric that has been stretched with the weft on the short dimension of the Challenger frame. The mesh was marked as described and then tensioned to a percentage of elongation to maintain a square opening and to achieve screen stability on press.

Percentage Elongation Over Tension

Four Possibilities of Tensioned Screen Mesh

a.

b.

c.

d.

a. b. c. c.

Balanced TensionBalanced Opening Balanced TensionImbalanced Opening Imbalanced TensionBalanced Opening Compromised TensionCompromised Opening

Figure 1.34 This illustrates the four possibilities of tensioned screen mesh and there is only one outcome that is acceptable. Viewing from left to right: 1. The tension is balanced and the mesh opening (mesh count) is balanced. This is the one that you want to create it requires mesh with a balanced stress strain curve as well as closely related warp and weft counts. 2. The tension is balanced but the opening is imbalanced. This screen will be relatively stable on press but will cause problems with ink transfer and frequency moir. 3. The tension is imbalanced but the opening is square. The screen will not be stable on press but ink transfer and image artifacts will be under control. 4. The tension and the opening are compromised is the nature of most screens made with a tension meter as the control.

PAGE 1 . 40

The measured elongation procedure allows you to check the balance of your screen fabric as well as the specifics of the tensioning methods. You will find the lack of information from the meter (which may accurately measure tension) and the need to maintain fabric orientation and bolt specifications. Should you have a bolt that has an imbalanced warp and weft (variance greater than +/- 1.5%) then you have one of three choices with that fabric: First compromise the shape of the opening but, be on the look out for inescapable radial moir if you are running halftones. Second maintain the shape of the opening but compromise the stress between warp and weft, which results in registration shift during the press run. Or third, compromise both of these parameters but this is very risky since you are subjected to both moir and misregister.
Stretch And Glue

Screens
Tensioning With Percent Of Elongation
1. Attach the mesh with the warp threads running with the short side of the frame. Warp threads run lengthwise on the frame. 2. Insert the mesh in the frame so that it is flat and the threads run parallel to the frame sides. 3. Measure and mark opposing lines measurements on the warp direction (figure 1.31). 4. Measure and mark opposing lines on the weft direction. 5. Stretch the warp to half of the recommended percentage. 6. Use the notches scribed on roller frames as guides to 1/8 rotation. 7. Note the tension level and record the results. 8. Stretch the weft to half of the recommended percentage. 9. Note the tension level and record the results. 10. Finish up by stretching the warp to the final percent of elongation. 11. Note the tension level and record the results. 12.. Stretch the weft to the final percent of elongation. 13. Note the tension level and record the results. How To Instructions

With the popularity of the retensionable frame in the US garment printing industry, stretch and glue will be covered but only briefly. Again with the arrival of low elon-

PAGE 1 . 41

gation fabrics, stretch and glue became more viable. The tee shirt printer however, will have to do some homework to accommodate static frames. First since retentioning is not an option, the press must be calibrated. Second the use of tarlike plastisols will not be accommodated: you will be better off with retensionable frames. Third you will need to keep a true and sharp edge on your squeegee blades. And the list continues with the tensioning procedures just as is the case with the retensionable frames. If you are using stretch and glue on a pneumatic system you will want to read how to soften corners for retensionable frames (refer to page 1.35). Although the execution differs, the principle is the same; you want the clamp or clamps to stop short of the end of the frame. The distances short are: 4 inches and 5 inches on a Gauntlet frame and 5 inches and 6 inches respectively on a Challenger frame.

Chapter 1

Of course you will want independent air control for the warp and weft directions (for details on percentage of elongation refer to page 1.37). Since the air systems are very sensitive to resistance, it is easy to calibrate your system for repeatable results. In practice take the air up to approximately two-thirds of its maximum

Figure 1.35 This is a photo of the Max Newton pneumatic screen stretcher. The system adjusts to virtually any frame thickness and size (up to its capacity). It consists of four channels that securely grip the mesh when the coated locking bar is set into position. Warp and weft can be treated independently to compensate for frame shape and mesh geometry. The locking bars can be shortened in length to accommodate higher tension levels without the risk of isolated stress. The Max Newton can be manually pulsed to expedite the tensioning process and to help accommodate imbalanced meshes. If you choose to pulse tension the fabric, do not pulse at maximum PSI. This will cause filament necking and weaken the drum tight fabric that you have created. For details refer to figure 1.27 on page 1.35. PAGE 1 . 42

for that mesh and then turn it off. Wait a few seconds and then turn the air back on and go to complete tension. The relaxing of the knuckles and quick return allows you to accelerate the tensioning process. Note three facets of pneumatic tensioning on your log sheet: air pressure, percentage elongation and resulting tension. With these three in place, it will be simple to troubleshoot should your raw materials or your system take an unexpected turn.
Measuring Tension

Screens

All of the tension meter manufacturers tout the accuracy of their meters and present it as the ultimate tool for gauging screen performance and this is just not the case. The problem is not exclusive to the design of the meters rather it is our reliance on tension as an accurate reporting of what has happened to a screen when the mesh is stretched. Tension is a form of pressure and cannot be relegated to a North-South, East-West domain. If you want quick and easy then a tension meter is fine but if you want to know the reality of what is occurring when you stretch the fabric, read on. The meter isolates the mesh to be tested so that the tension reading is not affected by the proximity to the frame. The feet on the bottom of the meter near the ends of the base perform the isolating function. The spring-loaded probe centered in the meter forces a section of fabric downward until the resistance of the mesh is greater than the force of the spring. The meter has been calibrated or
PAGE 1 . 43

Figure 1.36 This is a photo of the ISPS Mesh Counter. The cross check for tension is the Mesh Counter. It is a film positive set to be laid on the mesh in both static form as well as tensioned form. The counter is accurate to one thread and can be used to insure a square opening and equal tension levels at all points on the mesh.

preset to units of pressure, Newtons per square centimeter. If you want to know tension the best way to gauge it is perpendicular to the tensile (stretched) force and this is the way that the meters read. The meter can and should be used and there are some equally valuable but lesser practiced readings that will help your cause: If you are wise enough to identify

Chapter 1

a. Maximum Image Size

b. Check Weft Tension

c. Check Warp Tension

Figure 1.37 This illustrates the use of the meter to check tension levels at the five marked points on the screen. It is critical that the tension be the same at the four corners and at least that high in the center. If the meter finds a perimeter reading higher than the center reading, check your procedures and try again.

a. Softened Corner

b. Corner To Center

c. Meter From Corner To Center

Figure 1.38 This illustrates the use of the tension meter to check for isolated stress. Begin at the corner and take readings from the point of little or no tension. As you move the meter toward the center of the frame be wary of any peaks in the tension level. If so you have isolated stress. First it will keep you from balancing the tension on the mesh. Second it will be the most likely place for the screen to rip. PAGE 1 . 44

each screen and to compile data on them, be sure that you take tension readings on five points (see figure 1.37 on page 1.44). These include the center and the four corners of the maximum image area. Also note the tension range, which is the highest tension of the five points and the lowest.

Screens
General Tensioning Procedures
1. Use LE, plain woven, dyed, mono-filament polyester. 2. Get a SS curve (or data) from your supplier. 3. Run the warp in the long direction. 4. Insert the mesh into the frame. 5. Use figure 1.31 for elongation for Challenger and Gauntlet screens. How To Instructions

You will want to use the 6. Mark off the recommended distance. meter to check for isolated 7. Soften the corners progressively. stress areas. (see figure 1.38). These often occur with reten8. Stretch in two stages, half from each end of sionable frames just inside the the frame. final point of corner soften9. Stretch half the distance warp first. ing. (refer to page 1.35 for 10. Stretch the weft, half the distance. details on progressive corner softening). The isolated stress 11. Record tension and percentage elongation. areas must be eliminated to 12. Complete the warp. insure stable tension on the 13. Complete the weft. press. Of course you will want to strive to achieve equi14. Use the meter to check for isolated stress. librium and the same tension 15. Adjust softening procedure if needed. over the surface of the mesh. However even with this con16. Check tension at the five points. dition, problems can ensue 17. Record tension and total elongation. and will never be detected by the tension meter because the trouble is that the meter has no idea of how much the mesh has been elongated.

Troubleshooting Screen Life

It will be very helpful to identify where your screens blow out so that you can identify the more relevant question of why they blow out. There are two distinct and separate elements of total screen failure: those that burst and those that rip.
PAGE 1 . 45

Mesh Bursting

Chapter 1

The mesh will be prone to burst in the center of the screen from external stresses not from the elongation or its resulting tension. The center where it is most difficult to transfer energy is subjected to the highest wear from the shearing effect of the blade. This is the point of least change from static to dynamic tension. Eventually the blade erodes the fabric and finally it bursts. Your images will mis-register due to stretch in the stroke direction. You may observe the harp like strings of mesh that break loose of the bonded knuckle. The tear is a laceration or rough cut and there are remedies and they are listed below. 1. Reduce the squeegee force. 2. Raise the off-contact distance. 3. Increase the size of the inkwell. 4. Calibrate the press. Mesh Ripping The mesh is prone to rip near the frame wall due to both internally and externally applied stresses. The internal stresses are imposed during the tensioning process; the highest stresses are nearest the point where the mesh is being pulled. Secondly is the very obvious abrasion from the ends of the squeegee blade, hopefully not from the flood bar. It is at the ends of the blade, near the edge of the mesh that the contact pressure between blade and mesh are at the highest. Mesh elasticity is at its lowest and blade pressure may be at its highest. Misregistration will be due to over-sizing the original image (refer to page 4.4 for details). The tear in this case is a slice and looks cleanly cut as with a knife. The remedies for ripping mesh follow: 1. Reduce the off-contact distance. 2. Radius both ends of the squeegee blades. 3. Increase the size of the inkwell. 4. Center the squeegee blade. 5. Calibrate the press. If you are experiencing both ripping and bursting mesh the most probable cause is that your press is out of calibration (refer to page 4.15 for complete details). It is probable that you have press heads that are out. The higher ones are causing
PAGE 1 . 46

the mesh to rip and the lower ones are causing the mesh to burst. If your press is in calibration then the dual problems are due to erratic screen tension. You will want your range of tensions of screens on any one set-up to be more closely related in other words, dont run high and low tension extremes on any given press run. Be sure that your squeegee blades are sharp and true and centered in the screen. Tension Counter Measures To negate whatever qualities the fabric manufacturer and you put into the screen mesh, its tension and life expectancy use the following list of mesh killers: 1. Uncalibrated press. 2. Imbalanced SS curve. 3. Minimal ink well. 4. More squeegee force. 5. Rigid blades. 6. Higher off-contact. 7. Double stroke. 8. More peel. 9. Non LE mesh. 10. Any flood pressure.

Screens
Protecting Tensioned Screens
1. Calibrate your press regularly. 2. Use the standard recommended screen sizes. 3. Use a squeegee blade 1 longer than your image width. 4. Set squeegee pressure at a minimum level to completely transfer ink. 5. Use a blade setting that accommodates your press conditions. 6. Run the off-contact distance as low as ink transfer permits. 7. Do not make a habit of double stroke - fix the problem. 8. Always try to run at zero peel, use only when absolutely necessary. 9. Always run low elongation screen mesh. 10. Do not flood as a preprint stroke. 11. Use ink with low tack level. 12. Use mesh with balanced SS curves. 13. Progressively soften the corners of each screen. 14. Establish tension levels by using elongation techniques. 15. Check for isolated stress areas with the meter. 16. Check all five-tension spots. 17. Beware of super-heated platens and their affect on the screens. 18. Seal the perimeter with permanent blockout. 19. Use a Mylar tear resistant tape on all corners. 20. Protect the groove of the locking strip with cloth tape. How To Instructions

PAGE 1 . 47

Tips For Establishing Your Proper Tension Level

An insufficient tension level would create the following problems: 1. Require excessive off-contact distance. 2. Allows a positive mesh lag behind squeegee stroke. 3. Causes image stretch in the stroke direction.

11. High ink tack.

Chapter 1

12. Improper tensioning. 13. Excessively hot platens. 14. Unsealed perimeter. 15. Poorly taped corners. 16. Unprotected locking grooves Tension Limits Prior to low elongation fabrics, and particularly in the US, we were preoccupied with higher and higher tension levels. There are a few reasons; in this country the tee shirt has achieved an all time high for popularity. The baby boomers and level of affluence created an unprecedented demand and therefore colossal automatic and manual machine sales. Most of these machines were not maintained very well and were sorely out of calibration. All of the machines (by necessity) are designed with small inkwells and the printer has a lot of screens. The ink of choice in the US is plastisols and most of them are very tacky, sticky and difficult to transfer through the mesh. The tees usually range from 15% to 25% fabric mass. Take highly elastic fabric, uncalibrated presses, small inkwells with an abundance of screens, tacky inks and a porous substrate and the advantages of higher tension screens are obvious. These screens took the form of retensionable frames and the dominance of the roller frame in the tee-shirt industry was unprecedented. Without low -fabrics there is a need for continuous take-up (tightening the fabric) and a lot of it. Some of the low modulus (opposite of low elongation) required elongation percentages of 10% to develop reasonable tension levels. And once you got there, even when you incurred the least bit of stress on the mesh, the tension level was lost. This made a continuous take-up retensionable frame a very logical method. Now that low elongation fabrics are available, the utility of the retensionable frame has changed.

The minimum tension level of the mesh has to meet several criteria: 1. It must permit an off-contact distance below image tolerance. 2. It must resist image stretch at the above off-contact distance. 3. It must resist positive lag during the print stroke.

The ideal tension level would meet or exceed the following criteria: 1. Permit minimal off-contact distance. 2. Permit zero mesh lag where snap-back equals squeegee speed. 3. Resist image stretch in the stroke direction (Continued next page.)

PAGE 1 . 48

There are two camps of thought: First is the camp that allows the mesh manufacturer to spin and weave mesh to perform properly on press. It has a large mesh opening and a flat surface with a thin thread and is low elongation. It is engineered and manufactured for stability and ink transfer. The second camp says that you want to buy the strongest mesh available and tension it to a plateau to make it stable, flat and transfer ink properly. There are few in the business that have the controls in place to do the latter so we recommend that you let the mesh makers do the engineering. Use the proper tension level to achieve your goals, not as a cure all for all the other ailments of the screen printing process. The most appropriate cliche is If the lights go out dont fix the plumbing. Particularly in the US, we have used screen tension to attempt to solve a variety of problems rather than accurately identifying or solving the problems themselves. We have been plumbers groping in the darkness. It is true that excessively low-tension levels lead to misregister and poor ink transfer at a slow rate. But excessively high-tension levels, set in an attempt to resolve non-tension issues create other problems: screen bursting is one, buckling squeegee blades is another. In many conditions high tension actually creates an imbalance in the amount of ink transferred. Look to press calibration, ink tack, mesh geometry, sharp and true squeegee blades and proper frame size as their own culprits, youll find it an illuminating experience and a lot cheaper in the long run. C Tension And Off-Contact Distance Of course there is a relationship between tension and the amount of off-contact distance but that relationship relies upon more than just the two facets. The criteria for tension as it relates to off-contact distance is screen stretch. In other words, once you have set the off-contact distance to accommodate your image tolerance (refer to figure 4.4 and figure 4.5 on page 4.9) then your tension level must allow you to print without image stretch in the stroke direction. You will need higher tension for a given off-contact distance if the image

Screens

Tips For Establishing Your Proper Tension Level Continued

The maximum tension level of the mesh has to meet several criteria: 1. Does not lead to image enlargement. 2. Does not cause premature fatigue. 3. Does not cause negative lag during the print stroke.

An excessive tension levels create the following problems: 1. Forces impractical off-contact distances. 2. Or results in image enlargement. 3. Creates negative mesh lag. 4. Causes premature fatigue or bursting.

PAGE 1 . 49

stretches in the print stroke direction. The table below gives you a starting point for tension and off-contact distances.
Tension Levels and Off-Contact Distances

Chapter 1
15 20
.160

Tension N/cm Oc Inches *Oc Fractional

10
.375

25
.100

30
.069

35
.055

40
.042

45
.035

50
.026

55
.019

60
.015

.250

3/ 8

1/4

1/6

1/1 0

1/1 4

1/1 8

1/2 3

1/2 7

1/3 8

1/5 2

1/6 6

*Fractional equivalents are approximate and are listed for reference sake only. You should use a meter for press calibration and it is most likely that the meter will be scaled in mils or thousandths of an inch.
Figure 1.38 This table lists the tension level and off-contact distance combinations. This list is for reference and a starting point only. Refer to Chapter five for specific details on setting off-contact distances and then establishing the proper tension to support the off-contact. As the table shows, a 25 N/cm screen will be needed for an off-contact distance of 0.100 or 1/10th-inch.

Begin by establishing your image tolerances and then use the tables shown on page 4.9 to determine the maximum off-contact distances. Once you have determined the off-contact distance, you can set the tension specific to that off-contact distance. Use the graph below for reference.
Tension & Off-Contact Distance Off-Contact Distance in Inches
0.400 0.350 0.300 0.250 0.200 0.150 0.100 0.050 0.000 10 15 20 25 30 35 40 45 50 55 60

Figure 1.39 This graphs the relationship between tension and off-contact distances. Off-contact is the first variable to be set on press. Tension along with squeegee settings must support the proper off-contact distance. Details are located in Chapter Five.

Tension in N/cm^2

PAGE 1 . 50

I. Stencils Emulsion Types Coating Parameters II. Coating The Stencil Coater Length Coater Edge(s) Coating Techniques EOM & Rz Importance III. Drying The Stencil Conditions And Time Factors Additional Considerations Humidity And Moisture Control IV. Exposing The Stencil Calibration Monitoring Exposure Variance Lamp Parameters V. Developing The Stencil Touch-up u Taping the Perimeter VI. Reclaiming The Stencil Haze Remover VII. Real World Results Prepared Test Screens Cost Of The Coating

Chapter

STENCILS

Stencils

Stencils

The role of the stencil is multi-faceted. It is to adhere to the mesh and resist reasonable abrasion from the squeegee and be enough elastic to allow proper off-contact distances. The stencil must be flat enough on the impression side to create a seal to the film positive during exposure, as well as provide an adequate print shoulder for accurate line reproduction in print production. It should be sufficient on the squeegee side to meter the proper volume of ink for fine-detail printing. The color should be transparent enough to encourage thorough exposure [on the inside of the screen] and yet it should be dyed to filter extraneous light rays. All of these parameters are operator dependent: that is, they can range from bad to good solely based on the way that you use them. If your preoccupation is with the lowest price pergallon, you are probably creating problems with quality and downtime that are easy to resolve, but costly nonetheless. Emulsion Types There are three basic types of stencil emulsions: diazo, dualcure and pure photopolymer. The diazo is the traditional coating; relatively low cost, long exposures and temperamental in many aspects due in part to moisture sensitivity. Pure photopolymer is at the other end of the spectrum from the diazo. It offers lightening fast exposure, is somewhat unaffected by relative humidity and darn expensive. It is well suited for those with small or weak light sources or those with high quantity and reasonable demands. If you plan to use a pure photopolymer extra caution should be taken in calibrating exposure. The latitude is very tight, which can easily lead to over or under exposure. Dual-cure is generically a blend of diazo and pure photopolymer. It is most often the best choice for performance. It can be faster than diazo, but have user-friendly latitude. Its the best resolution in the game and yet is relatively easy to reclaim.

S t encil Transparency and R egistration

The visual transparency of the completed stencil is critical to the press operator. In a perfect world, you could align the image with a Tri-Loc and lock the image in placeyou would never need to move it again. For those of you in the real world, there may be times that it just doesn't work that wayyou need to see through the stencil to the image below. In most shops a minute of press time is worth $5.00 to $20.00 dollarsdon't do anything that will waste a minute.You may want to rely on visual registration if... v you don't have a Tri-Loc. v the screen frame is racked. v the screen frame slips. v the mesh fatigues. v the original art really doesn't line up. v your press is out of calibration.

PAGE 2 . 3

Chapter 2
How To Instructions

Selecting an Emulsion
Look for an emulsion with: v High solids content. v Transparency to ease registration. v Durability on the press to resist pinholes and breakdown. v Wide exposure latitude to be production friendly. v Fast drying to increase throughput. v Easy reclaimability for labor economy and screen life. v Fast exposure, specifically on your light source. And most of all, don't let price interfere with productivity.

For long life it tends to be unsurpassed. If you are not sure what to use, err on the side of dual-cure emulsions.

Each of the coatings has specifications and parameters that are highlighted in the few paragraphs below. The information is to enable you to choose the best product, not to pigeon-hole you into a specific label or performance parameter. Coating Parameters

High solids content is the first parameter that you should look at to attain higher edge quality, fewer pinholes and longer life on the press. Not curiously, these higher-solid coatings cost more, since less of the product is water. Bridging, the ability of the emulsion to "bridge" over the open area of the mesh, was a hot topic long ago when both the solids content and print standards were dangerously low. It is, of course, constrained by the percent of solids (price) but is much more reliant on the particulars of the fabric and on the methods of application used. (Refer to pages 2.10 and 2.14 for details of fabrics, coating and exposure methods). The best bridging will come from multiple coats and, in fact, from coat-dry-coat techniques. Resolution is a term that is bandied around by all of us to cover a multitude of virtues. Many elements of the coating chemistry (such as resin particle size), account for its ability to hold detail. Unfortunately, the reason for poor detail many times is a function of usage: improper coating methods, drying, exposure and development conditions. Very few printers actually tap into the resolution capabilities of any of the emulsions. Remember that it is resolution on the print that is critical, not resolution potential in the can. Here again the optimal resolution occurs when the stencil is the flattest. This is accomplished through a balance of coat-dry-coat technique. Exposure speed can be beneficial but be sure that it is not hurting you in proPAGE 2 . 4

duction. A "faster" reacting coating will be more sensitive to time (or exposure units) and to thickness of the coating. With the faster coatings, particularly the "pure photopolymer" coatings, your conditions should be closely calibrated to insure success. (Refer to page 2.19 for calibration and monitoring). Reclaimability should not be counted as crucial as those facets of the product that slow down productivity (transparency for example, see side bar page 2.3). The cost of off-press functions should not be weighed as high as on-press functions. Nevertheless for reclaimability you may trade water resistance, but the bulk of the process is in the hands of your exposure and drying (refer to pages 2.19 and 2.25). Insufficient drying and/or under exposure can make the job of reclamation very difficult. (Note that some coatings are more difficult than others to reclaim, so check with your supplier on a starting point, then be sure you don't make the condition worse). Multiple wet coats and coat-dry-coat are cross grain to the desires of both the emulsion suppliers and screen room personnel. Some of the emulsion suppliers don't want to have to say that the best results are achieved with the coat-dry-coat method: its not what the printer wants to hear. And the screen-room personnel are under pressure to get the screen to the production floor: coat-dry-coat takes more time. However, for the best real-world outcome, coat-dry-coat produces superior results. Even the premium products shrink toward the knuckles of the mesh; depending on your conditions and quality standards this shrinkage may not bother you but will be affected by mesh geometry, coating thickness, type of coating and vacuum conditions. With coat-dry-coat, you allow the emulsion to shrink which forms an irregular surface; then you return after drying, probably with a thinner blade, to put a thin, flat finish coat on the surface, that fills in the valleys caused by shrinkage. Transparency of the dried emulsion is crucial for image registration on the T-shirt press. The best solution is to use the patented M&R Tri-Loc system so that any need to see through the screen is minimal. Otherwise, dyed emulsion, which is often the complimentary color to the screen mesh, will offer

Stencils
2. 3. 4.

Variables Ef f ecting Selection of Coat er Length 1.

The tension level of the screen. The edge of the coater. How much force you want to apply. If you have permanent blockout around the perimeter. If you wipe up the drips of coating near the corners of the frame. The maximum image size.

5.

6.

PAGE 2 . 5

R ound vs Shar p
Round-edge coaters: v allow a faster coating speed than sharp. v bridge coarser (160 and below) fabrics. v create less turbulence (air bubbles) on coarser fabrics. v apply more coating with fewer passes. v allow a wider range of [operator] force. v require more [operator] force. v should be slightly shorter than sharp. v are less sensitive to the angle (coater to screen) of attack. Sharp-edge coaters: v work better on higher tension levels. v more accurately meter the coating onto the mesh. v are definitely best for face coating. v are generally better for finer (160 and up) mesh counts.

the best resolution and latitude of exposure in trade for the ability to see through it with ease. Before you might under-rate this aspect, look to page 6.7 to see the value of one minute of downtime.

Chapter 2

Coating The Stencil

When you are ready to have flawlessly consistent screens, color after color, job after job and year after year, you are ready for a Digikote, digitally controlled screen coater (see figure 2.1). There are a variety of coaters on the market and, though they all look similar, Digikote has solved the one problem that exists with all other coating machines: how to apply pressure consistently (see figure 2.2). Electronic drivers on each side of the screen apply consistent pressure on the face of the screen regardless of your airflow,

Figure2.1 Frontal view photograph of the Digikote automatic screen coater. PAGE 2 . 6

age of the machine or characteristics of the screen. No other coater can make that claim. All T-shirt printers print too close to the edge of the screen; it is a requirement of multi-color press screens. Now you can have a stencil that is the same thickness at the edge as in the center. Digikote is fully programmable to coat the front and/or the back of the screen. Digikote comes with two coating blade edgesa .050" and .080" (one and two mm). The .050" is typically used on finer mesh counts of 230 and up, while the .080" is Figure 2.2 Electronic pressure sensor from the Digikote. used for 230 mesh counts and down.The .050" lays down a thinner deposit and results in a smoother surface. The .080" lays down a heavier deposit, which creates a rougher surface. For the ultimate application you can use the .080" first and finish with the .050" (refer to figure 2.5). Coater Length The proper selection of a coater length depends on a few variables. If your tension is low, below a nominal 20 N/cm (Newtons per-squarecentimeter), then a shorter coater length is recommended. If you are using a roundedge coater a shorter length is also in order. The longer the coating trough, the more force you will have to apply to get an accurate stencil even more force if the edge is rounded. If you have permanent blockout on the perimeter

Stencils

Figure 2.3 The width of the coater should be larger than the maximum image width yet leave ample room between the coaters ends and frame for consistent coatings center-to-edge. PAGE 2 . 7

Chapter 2
How To Instructions

Selecting a Coater
1. 2. 3. Length must be 1" greater than the maximum image width. Length must be 2" (or more) shorter than the frame I.D. (interior dimension). Gauntlet = 17" to 18"

of the screen, the coater should not pass over the blockout. As the length increases you will spend more time contending with runs and puddles in the corners of your retensionable screen.

To be practical, the coater should be two inches longer than your maximum image 4. Challenger = 20" to 21" size (see figure 2.3). The limit 5. The edge of the coater must: of the coater length is predia. Fineness of mesh thread and count. cated upon the consistency of the coating from the very b. Resolution goals. edge to the center. You may c. Viscosity of emulsion coating. not care if the margins d. Applied force, screen tension, coater length [edges] are properly coated, and frame I.D. but consider this: as the coater gets closer to the edge, e. Intended number of passes. you need more force to create f. Intended dry time. equal pressure across the surg. Coating speed. face of the screen. If the pressure is unequal, so will be the coatingthicker in the center. Resolution is lost and most of the coating that you paid for will wash down the drain during development wash-out, due to underexposure. The consistency of the coating can be assessed by a gray scale and resolution target test. (Refer to page 2.21 and 2.23 for details). Mount one of each of the scales to the middle of the screen and one at the edge. Expose as normal, develop the images, then compare the two scales. The solid step for the center should match the solid step for the edge.
MC 80/71 150/45 230/40 305/35 Coating Method 1 Imp. - 1 Sqg. 1 Imp. - 1 Sqg. 2 Imp. - 1 Sqg. 2 Imp. - 2 Sqg. Dry - 1 Imp. Edge Rnd. Rnd. Rnd. Rnd. Sharp Type Dual Dual Dual Dual Rz 16.2 9.5 10.4 8.3 EOM 25.0 14.2 6.6 5.8 Step 6 5 8 8 Pos. Res. 8.5 3.5 3.0 2.5 Neg. Res. 8.0 3.0 2.5 2.5

Figure 2.4 Test Screen Look-Up-Table PAGE 2 . 8

On a Challenger screen, the coater should be a maximum of 22" wide and, on a Gauntlet, 18" wide. If at all possible, use of a narrower coater can save you dollars. It is our recommendation that you never try to coat to the very edge of the frame. Coater Edge(s)

Stencils

S t encil Tr oubleshoo ting

Loss of Highlight Dots v Add more impression-side coats. v Over-exposed. v Inadaquate vacuum. Loss of Shadow Dots v Add more impression-side coats. v Development too aggressive. v Under-exposed. Loss of Both Highlight & Shadow Dots v Add more impression-side coats. Pinholes (center of mesh open ingnot dust related) v Coating too thin. v Severe under-exposure. v Moisture content too high during exposure. Smearing or blurring during press run. v Add more impression-side coats. v Related to press settings or poor calibration. Ink Pilingdue to too much ink volume in details. v Add more squeegee-side coats. v Sorely under-exposed. v Should see scumming during washout.

In the battle of the blades edges, there is room for both round and sharpit just depends what you want to accomplish (see figure 2.5). The best of all worlds is, at times, to apply the initial coats with a round-edge blade, then to finish with a sharpedge. To decide, see the coating tables, (figure 2.4) for details on how we coated the four test fabrics. The four test fabrics were choosen to allow a wide range of printing applications and all four offer excellant ink transfer and coverage. Or you can use the information contained in this section to decide for yourself, if and when to use each type of coater blade. The Digikote offers two standard blade edges, a 50-mil sharp and an 80-mil round. Available Figure 2.5 M&R will install a Delrin knife-edge with the coating trough, you specifya 50 mm sharp edge or an coaters in the field 80 mm round edge. This engineering plastic is virtually inderange from a 20structible and is manufactured to the precise edge required for mil sharp edge to a coating emulsions. 100-mil round edge. The general features of round and sharp blade edges can be found in the sidebar on page 2.6. Round edges are more forgivingand can have its time and placebut, for the highest resolution imaging, while a sharp will be more demanding the results are worth the effort.

PAGE 2 . 9

Chapter 2
How To Instructions

Coating Techniques.

Manual Stencil Coating

1. 2. 3. 4. 5. 6. 7. 8. 9. Select the proper length coater (page 2.7). Use the prescribed coater edge (page 2.9). Use a coating rack or support the screen at a slight angle. Fill the coater to the same point frequently. Coat the impression side first. Center the coater near the bottom of the screen . Apply firm pressure from left to right and throughout the stroke. Slow and steady maintaining contact, bring the coater near the top. Do not alter the angle of the coater.

To gauge the potential of your coating methods, use either a meter to measure both EOM (emulsion over mesh) and Rz(flatness of the emulsion surface), (refer to pages 2.13 through 2.14) or for a lesser investment (and less quantification), use the gray scales and resolution targets described on pages 2.21 through 2.23. Proper coating techniques are a delicate balance of the emulsion parameters, ambient conditions, exposure capabilities, the mesh geometry and tension, the particulars of the coater blade, the Digikote settings and operator influence. We will assume that you have quality film positives, a wellprepared screen (refer to chapter one), and that your press is calibrated (refer to chapter four). Use the troubleshooting list in the sidebar (found on page 2.9) to assist you in adjusingt your coating methods.
How To Coat With A Digikote Automatic Coater

10. Make additional passes as required (page 2.14). 11. * Turn the screentop to bottom(vertically) and coat the squeegee side last. 12. Wipe the edge of the coater with a damp soft cloth. 13. Refill the coater with emulsion frequently: do not wait until almost empty. 14. Dry print side down. 15. Apply additional coats after drying if necessary (refer to the how-to onstructions on page 2.14). * Although it is recommended to flip screens vertically during manual coating, the size of the T-shirt screen rarely demands it. Flipping screen is done to compensate for inconsistent pressure from side to side or bottom to the top. Large format screens tend to show more variance in pressure (deposit) as the operator reaches the top of the screen. It gets increasingly harder to maintain even pressure as the operator gets closer to shoulder height. If you are experiencing a thickness variance in your screens, you may want to flip your screen, if notyou may choose to eliminate this step.

Automatic stencil coating has been made affordable by M&R with the introduction of the Digikote. For decades
PAGE 2 . 10

the most sophisticated printers have known that to get a quality print, you need a quality stencil. But until the Digikote, automatic screen coating was affordable only to the largest plants.

Stencils
Automatic Stencil Coating
1.. Turn the Digikote on (see manual for specifications). 2. 3. 4. 5. 6. 7. Place a round coater(s) in the back of the Digikote. Place a sharp coater(s) in the front of the Digikote. Insert the frame into the self-centering clamps. The impression side of the mesh should be facing the operator. Lower the top clamps to near the frame. Push the frame-locking button, located on the center of the top rail of the machine. The button rigidly locks the frame into position. Set the speed, begin at 5 ips (inches per second). Set the pressure, beginning at ___ units. How To Instructions

8. 9.

10. Set the number of coats, front and back. 11. Store this procedure in memory. 12. Fill the coating troughs to the same level and refill often to keep the level consistent. Figure 2.6 Start, stop, frame lock and releaseall programming controls are conveniently located on the eye-level control panel, on the right hand side of the Digikote. 13. Refer to table 2.31on page 2.42 for mileage. 14. Measure the results as described in this chapter. 15. Push the start button to begin coating. 16. When done, release frame from holder.

The Digikote T2 accommodates one or two screens at a time with no variance in the coating (see figure 2.6). The T2 is intended for high throughput plantsover 100 screens per day. Like all Digikote units it is fully programmable for virtually any viscosity, profile or application of liquid emulsion coatings. Operating the Digikote is straightforeword; refer to the sidebar above for instructions. Your coating will be flawlessly consistent, dry times will be more predictable,
PAGE 2 . 11

Obstacles Of The T Shir t Screen Mak er

v Meshes range from 20 tpi (threads-per-inch to 460 tpi, however, T-sirt printers tend to use relatively coarse mesh counts.

exposures will be more consistenttherefore press breakdowns will be reduced. Still, T-shirt screens offer some unusual challenges for the stencil maker: Please refer to the sidebar left for further details.

Chapter 2

v The image is very close to the edges of the frame. v Industry tension levels vary up to over 50 N/cm. v The quantities of [multicolor press] screens per day is very high. v The wear on multi-color screens is significant. v No other process prints weton-wet with plastisols. v No other process must deal with the heat created by flash units over the platens.

Figure 2.7 The Digikote model T-2 can hold two screens and nearly double your productivity without sacrificing coating accuracy or consistency.

An intimate understanding of the T-shirt printing business allowed us to design the Digikote to adapt to all of its particular needs and more. Digikote can be automatically programmed to handle your needs: 1. One round and one sharp coater blade come with every Digikote. 2. Infinite speed control accommodates the coarsest mesh counts. 3. Only Digikote can adapt to the deflection of a textile screen. 4. Only Digikote is sensitive to the gamut of screen tensions.
PAGE 2 . 12

5. Programmable controls allow highest throughput.

Stencils
1. 2. 3. 4. 5. 6.

6. Sufficient and repeatable EOM eliminates breakdowns. 7. Proper Rz improves print quality. 8. Consistent coating weight allows consistent and thorough exposure.
Perimeter Coating.

Tips On Using The Digik o t e

A smaller well requires more pressure for coating consistency. Coating too close to the edges can harm the mesh. Keep the coating trough filled to a consistent level. Begin at five ips blade speed. Higher mesh counts allow higher speeds. Mesh counts that have a flatter mesh surface allow higher speeds. If intermittent drying, use a round-edged coater first. Use a round-edge coater on the squeegee and sharp on the impression-side.

You may contact your supplier for a permanent blockout, which can be applied to the perimeter of the low-elongation mesh screen. The blockout seals the ink in and saves you time and money on processing chemistry. Often, as much as 40 percent of the screen can be stabilized. That could mean a savings of 40 percent in chemistry and the associated time for using that chemistry. For example, the amount of reclaiming solution is reduced, as is the time of reclaiming the smaller area. If you choose to seal the perimeter, be mindful that it must be a thin layer on the impression side or it will adversely affect the coating thickness. EOM (emulsion over mesh) and R z (stencil flatness) Importance These two measurements should be read in tandem and considered as a pair of data points. If you considering them singularly, it can be very misleading. Refer to the table on page 2.14 for standards on both EOM coating thickness, as well as Rz flatness.
EOM

7. 8.

The basis for this measurement is to produce a stencil coating to overcome the irregular surface of the screen mesh. Once it has done so and the stencil has formed a gasket or relief on the underside of the screen, it is usually thick enough. There are always exceptions such as high-cut-pile terry towels and high-density fine-detail printing, but for the majority of T-shirt printing, the thick enough policy is sound advice. You may
PAGE 2 . 13

Chapter 2
How To Instructions

Determining Coating Properties

1. Record your coating procedures (per mesh type). a. b. c. d. 2. 3. 4. 5. 6. 7. Edge radius. Passes per side. Dryingposition and number of times. Dryingtimes and environmental conditions.

choose to use a thickness gauge to meter the thickness of the coating (see figure 2.8). An inadequate coating thick-

Measure and record EOM. Measure and record Rzboth sides. Expose test screens with gray scales and resolution targets. Develop, dry and inspect. Compare results to the tables on pages 2.40 and 2.41. Interpreting results of scales: a. Loss at positive and negative ends of scales improve Rz.

Figure2.8 Majestech's TQM-ETG electronic stencil thickness gauge is designed specifically to measure the stencil thickness in microns. This is the best method of gauging EOM.

ness leads to pinholes, very poor image detail, poor exposure latitude and premature b. Generally low resolution of scalesimprove breakdown on press. If the EOM. coating is too thick, the dosage of exposure to get the screen properly exposed (refer to page 2.19) is excessive. This leads to light diffusion and a loss in image accuracy. Further, such a coating will begin to lose its flatness (due to a reduced ability to evacuate the moisture from the screen)effecting the Rz level, as well as its ability to transfer ink (due to the long tunnel created by the too-thick stencil). The EOM reading should be used in conjunction with a flatness or Rz reading.
Rz

While you are achieving a coating that is just thick enough, it should be monitored for flatness. If the impression side of the stencil is not flat, it will not hold accurate detail. Even under the best vacuum, the coated screen will not develop
PAGE 2 . 14

intimate contact with the film positive and light-undercutting will ensue. The most blatant cause of a poor Rz is a stencil that is too thin. In such a case, the Rz meter reads the undulations (hills and valleys) of the woven mesh, with the stencil only minimally improving the readings. Once the proper EOM is achieved (refer to page 2.13) a thicker coating can tend to become less flat. In theory, this should not happen, but in the real-world this can occur. It is generally due to the use of thicher fabrics and/or round-edge coater blades that leave thicker emuslison deposits with each pass. Moisture gets trapped within the stencil and the surface dries with a texture (not smooth). Refer to page 2.14 for standards on EOM and Rz. You may elect to use an Rz meter to establish the actual flatness of the coating (see figure 2.10). The poor-man's Rz proof is to take a credit card and lightly drag it across the surface Figure 2.9 Majestech's Pocket Surf meter allows you to determine the flatness of the of a light table or the glass on a vacuum frame. stencil on both the impression and the Then, as a comparison, drag the same card lightsqueegee sides of the screen. ly on the press-ready emulsion surface. If you feel the vibration or hear a buzzing, the surface is not flat. A happy medium is to monitor your calibrated stencils with resolution targets (refer to figure 2.17 on page 2.23 for details). Note that a flat stencil on the impression side of the screen is fundamental to a quality print. However, it can exaggerate the problem of after-flash tack. If this is your situation, you will want to fix the ink (refer to page 3.18 for details) and not resort to coarse fabrics with high crimp angles and undulated stencil coatings.

Stencils

Drying The Stencil

The problem with excessive moisture in the coating is multi-faceted. First, you can't expose the water out of the coating; that must be done in the drying stage. Second, the

Figure 2.10 Murakami shows a fine-line and space-configuration on a 350-screen mesh. These details are quickly lost if the screen has been preexposed to extraneous light or if the washout is insufficient. PAGE 2 . 15

Chapter 2
How To Instructions

Drying The Stencil Coating

1. 2. 3. 4. 5. 6. Be sure your stencil has a consistent coating for even drying.. Dry stencil in a warm, clean, low-humidity room or cabinet. Dry the stencil with the print-side down. Use high-volume consistent air changes. Time the drying period. Use a moisture-content meter to verify the moisture is less than four percent before exposure.

coating won't expose properly; its cross-link density will be too low and premature breakdown is inevitable. The soft stencil will invite solvent and plasticizer penetration. Third, during development you may see scum or a cloudiness clinging to the open areas of the mesh. Fourth, the developed coating will be full of pinholes. Fifth, the stencil may be very difficult to

reclaim, particularly after it is used on press. The problem worsens as you realize that humans cannot tell if and when the screen is dry. The nominal amount of acceptable moisture is 3 percent. A screen that has 10 percent water content still feels dry, but will be a failure on press with the flaws described above. A stencil with three to four percent moisture con-

Figure2.11 Majestech's Aqua-Check meter will allow you to easily determine if the moistuer content of the stencil is below 4% and ready to expose.

Figure 2.12 Murakami shows this photomicrograph of a shadow dot structure. These dots are "islands" and the first to sink in the case of a screen loaded with moisture. PAGE 2 . 16

tent will perform extremely well. It is the screens in the area of five to nine percent that we are most concerned about. To gauge the performance of these, you will need a moisture content meter (see figure 2.11). The meter shown ranges from three to twenty moisture content and is labeled with green for go, yel-

low for caution and red to stop your use of the wet screen. Conditions And Time Factors

Stencils
Exposure Calibration
1. 2. 3. 4. 5. 6. Guesstimate that the best exposure time is one minute. Double the time and run the test for two minutes (one minute guess, times two = two minutes). The results show the best target for detail is either 50 percent or 75 percent (shown in figure 2.13). The results show my best target for color is 75 percent. Select 75 percent as the factor. Take the two minutes test time, multiple it by 75 percent, the calibrated exposure time is one and one-half minutes or one minute, 30 seconds. How To Instructions

The obvious questions: Are my screens dry enough and how long should I wait? And we would love to give you a specific answer. Unfortunately it would be just that, specific and, therefore, not very helpful unless your conditions matched our test parameters exactly. The fundamental conditions for drying are the coated weight of the emulsion, the surface area exposed, the vapor pressure of the coating, the vapor pressure and temperature of the surrounding air, and the nature of the air flow. The coating weight is a composite of the viscosity of the emulsion, the edge of the coater and the number and location of passes applied to the screen. The surface area of the coating exposed to the air is the second factor. Therefore, a fine- mesh screen (with lower surface area) will dry faster than a coarser-mesh screen.

Figure 2.13 Autotype's Exposure Calculator allows as few as a single test exposure to pinpoint your proper production exposure time or units. Upon close examination, you can see that the filtered areas look bleached out. This indicates under exposure. PAGE 2 . 17

The evaporation of the emulsion is a function of the vapor pressure of the coating as well as the vapor pressure of the surrounding air. The vapor pressure of the emulsion is that state of equilibrium between the liquid and vapor. As temperature increases the vapor pressure increases in direct proportion.

Chapter 2

As an example, you can increase the temperature of water until it finally boils at a pressure of one atmosphere and 212 F. In your drying room or cabinet, the ambient air has its own vapor pressure and it may or not cooperate. The greater the difference in the vapor pressure of the ambient air and the vapor pressure of the coating, the faster the coating will evaporate. Be cautious if you are using warm air to accelerate the drying of your coated screens. Of course it will be very effective, but heat can partially expose the emulsion on its own and, with too much heat (try to stay below 110 F), the shelf life of the screens is in jeopardy. Airflow may seem so simple, but you must realize that it is extremely complex and not at all intuitive. For our purposes, we will not attempt to explain or define this aspect; rather, we will try to alert you to the existence of its subtleties. The dry time of a screen will be affected by whether the air is impinging (directed at) or flowing parallel to the surface of the screen. For this and the reasons stated above, it would be meaningless to isolate a standard dry time for a coating. Additional Considerations The room or drying cabinet should be as dust-free as possible and in, the typical T-shirt plant, this could be quite a challenge. Clean-room environments are beyond the scope of this book, but they are advantageous. Short of that, you may invest in washable indoor/outdoor carpet at the entrance to the room, along with tack tape for the floor to remove any dust and dirt from the bottom of your shoes. An air cleaner in the room, alongside your dehumidifier, will help immensely. Finally, at the auto-body or hardware store, pick up a supply of tack rags. These are gauze cloths coated with shellac and solvent. They are dust magnets that can be used to clean the screen and not leave anything behind. Be forewarned that screen emulsions are not totally insensitive to all yellow lights, particularly if the lights are high intensity (formulas relating to this topic may be found on page 9.1 of the appendix). If they wash out great when the screens are fresh, but fight washout once the screen sits in the darkroom for a time, then your lights may be the problem. To test, use black electrical tape, applied to both sides of the screen, forming an
PAGE 2 . 18

X-shape. Let the coated screen sit as close to the lamp for as long as is normalseveral hours is minimum and several days is typical. Then take the unexposed screen to development and remove the black tape. If you have a stray light problem, the X will washout more easily than the surrounding emulsion. Humidity And Moisture Control There are a few tools that will allow you to test and determine the time required for drying. The first purchase you should make is a thermometer and hygrometer for the drying room. These will show that a certain range of temperature and relative humidity can have a serious affect on the dry time. The rate of evaporation is directly proportional to an increase in temperature and a decrease in relative humidity. A moisture-content meter (refer to page ___for details) can be a lifesaver since no one can tell by sight or touch whether a screen is dry. It is possible to monitor airflow, but unless you are building a drying cabinet, the other recommended gauges should suffice.

Stencils

Exposing The Stencil

Stencil exposure is critical for two aspects of quality production. First is image accuracy. If the screen is over-exposed, detail is lost, the size of the image is altered and registering one screen to another or color accuracy can be a problem. Second, if the screen is under-exposed, pinholes and premature breakdown on press is assured. Before you try to establish and control proper exposure you may want to review tensioning methods (refer to page 1.43), coating (refer to page 2.14) drying (refer to page 2.16)and frame size (refer to page 1.21). Calibration There are two steps to stencilexposure control: calibration and monitoring. Calibration is the stage prior to production that accurately determines the

Figure2.14 Shown is the Autotype Exposure Calculator to help calibrate your screen exposures. This film positive effectively runs five exposure tests in one exposure. Complete instructions are included with the test film. PAGE 2 . 19

proper exposure based on a test sample of your normal conditions. Although there are several methods of calibration, we will detail the use of an exposure calculator by Autotype. These are available at a nominal charge from your supplier or provider of stencil products. The principle of the exposure calculator is the use of several highly detailed, measurable images. Behind these is a series of progressively darker filters, from clear to very dark (see figure 2.14). The filters relate to each other in that they transmit incrementally decreasing amounts of light. The first transmits all of the light and is marked 1.0. The second transmits seventy percent of the light, and is marked 0.70; the third, half of the light; fourth, thirty-three percent and fifth, one-quarter.

Chapter 2

Start with two screens of identical mesh and stencil, and prepare to expose the screens with the calibration target. Guesstimate your exposure in units or real time, and then double it only for this test (see how-to on page 2.17). Expose at the double time, then develop the screen as normal and view the results while the image is still wet. One image will look better than others. You are looking for two things: the cleanest detail in the star targets at the center of the scale, and a background color that resemble the color of the Factor 1 scale (see figure Figure 2.15 Autotype's Exposure Calculator allows as few as a single 2.16). test exposure to pinpoint your proper production exposure time or units. Of the five factors, if your test is not one of the middle three, you will want to run the test again. The reason is simple: if your test indicates the best scale is at either end, you can't determine if more or less exposure would be better. Using an exposure calculator you will determine the correct exposure time for the mesh count/color, type of emulsion and coating procedure used during the calibration. The exposure time will allow a highly detailed screen with excellent durability on press. If any of these factors change, you should re-calibrate for the new or different conditions. There is a method of exposure calibration that is very precise. That is to use a radiometer with its probe behind the exposing screen. It works quite well with
PAGE 2 . 20

diazo type coatings, as the diazo bleaches out as the crosslinking progresses. On the other hand, pure photo-polymers do not bleach at all and there is no plateau upon which to establish sufficient exposures. If you are going to evaluate dualcure coatings, approach cautiously.
Cautions

Stencils

You will want to resist the temptation to under-expose in order to hold detail. If you underexpose a screen, much of the coating washes down the drain and the result is a pinhole-ridden, thinner stencil that will only appear to hold superior detail. Pinholes are always in the perfect center of the mesh opening which tends to be the thinnest part of the coating. Unfortunately, this water-eroded coating is not robust enough to act as a gasket for the transfer of ink. Monitoring Once you have calibrated (above) your proper exposure times for each specific mesh and stencil, you will want to monitor the results to see if and how much they vary from the standard. There are two very inexpensive yet very accurate film-positive tests that can ensure the accuracy of every screen you shoot. Immediately after calibration, select a prepared screen identical to the one that has just been calibrated.
S 21-Step Gray Scale

The first film-positive is a 21-step, transparent gray scale (shown in figure 2.16). It is a numbered gradient of 21 separate densities of gray filters. Step 1 is clear and step 21 is the most dense or opaque black. These steps are mathematically stepped, their densities related to each other. Step 1 transmits (relative Figure 2.17 to the scale) all the light. Step 21 This is a Stoffer 21step transpartransmits only 0.1 percent of the ent gray scale light. Each step is approximately 15 imaged on a screen. This scale percent more or less dense than its is processed to a neighbor.
solid step number nine.

Figure 2.16 This is a Stoffer Scales 21-step transparent resolution guide. It is a film positive that can be used over and over again to gauge consistent stencil exposure.

For example, you calibrate a screen and stencil and the very next screen washes out to a solid step 9 (see figure 2.17). Step 9 will forevermore be the proper step for screen development for the calibrated conditions. Lets say that things run for several weeks and then, to celebrate, you buy a coating
PAGE 2 . 21

trough that looks about the same as the old one. But its edge and length are different and it deposits a thicker coating of emulsion. It is not apparent to the naked eye and the screen goes for exposure and development. When the screen is developed, it turns out to be a solid step 8, exactly one step from the standard step 9. The step 8 screen is underManeuvering On A 21-Step Transparent Gray Scale S exposed because of its If you Then you should thicker coating; need to increase by one step, divide time or units by 0.70. you should refer to the need to decrease by one step, multiply time or units by 0.70. look-up table on page 2.43 and increase the need to increase by two steps, divide time or units by 0.50. exposure by need to decrease by two steps, multiply time or units by 0.50. approximately 43 percent (the same as dividneed to increase by three steps, re-calibrate. ing it by 0.70). need to decrease by three steps, re-calibrate. If you do so, the next screen will be back to a solid step 9 on the scale. The look-up table will assist you in maneuvering on a scale, without having to reshoot the exposure calculator. But beware, this is only accurate when you are one or two steps off on the 21-step grayscale. You may think a 15 percent change is not very much and you would be correct. Such a variance can rarely be detected on a press. And that is just the point, no one will be able to tell that there is variability in the screen exposure, the results will be that accurate. But now the screen department will have evidence of accuracy and the press operators won't have to wonder.
Resolution Target

Chapter 2

Resolution is the ability of the stencil system to accurately reproduce a minimum image. A resolution target is a transparent film-positive with divergent scaled lines and spaces. This particular scale has divergent lines that range from 1/10 of an inch
PAGE 2 . 22

at one end to 1/10,000 of an inch at their tips. One side is composed of black lines and clear spaces; the other has clear lines and black spaces (see figure 2.17). Your limits of resolution are many fold but will all be evidenced by a filling in of the lines and spaces or by a moir pattern. The loss of lines and spaces is detailed immediately below. This scale can act as a crosscheck to the gray scale (described immediately above). By inspecting the limits of the lines (highlights) and spaces Figure 2.17 " is a Stoffer Scales trans(shadows) and comparing the two under a loupe, parent resolution guide. It is a film positive you can establish the degree of exposure balance. and can be used over and over again to gauge the resolution level of the screen. If the screen is properly exposed the two sides, positive and negative of this scale should be similar. For example, if the scale shows a 5-mil (0.005") line on the one side, then the other side should have a space resolution approximately equal to the 5-mil line. (figure 2.17) The two sides of the scale need to be similar, but the space or negative side of the scale is generally easier to resolve than the line or positive side.

Stencils

Interpreting The Resolution Target Problem

Over-exposed: Under-exposed: Coating too thin: Coating too thick: Mesh too coarse: Thread too thick: Stencil too wet: Insufficient vacuum:

Description
Highlight loss, shadows clearer but print poorly. Shadow loss, highlights clearer but print poorly. No exposure latitude, poor detail, star-like moir in image. Difficult to develop, tips of lines washout. Abrupt stoppage of lines, very short range. Star-like moir patterns and jagged edges at finer ends of lines. Erosion causes coating to become thin; targets print poorly. Loss in highlights, gain in shadows, printed targets looks like short tonal range.

Note: It is critical that you wash out these scales just like you do the balance of the image; do not focus on or baby their development. You may want to turn to the sidebar on page 2.35 to review our recommended procedures for development.
PAGE 2 . 23

Remember that the resolution should be comparable between the positive [lines] and the negative [spaces] on the scale.

Chapter 2

Its most affective test is to gauge the stencil or coating thickness as a benchmark of detail capability. Once your detail surpasses the level of the mesh, (and such is the case in virtually all halftone printing) to sustain it now you must rely on the stencil. A coating that is too thin (the typical case) does not rise above the surface of the mesh and any detail will be lost as there is no intimate contact between stencil and positive. A coating that is too thick will require excessive exposure, and light diffusion will cause image edges to deteriorate in the print. The resolution target will help youdetermine edge acuity (the definition at the edge of an image). On a coating that is too thick or too thin, the quality of the lines will be distorted. Thin coatings will leave a ragged edged, saw-toothed line. Excessively thick coatings will leave an edge that has been exposed by diffused light so the size is altered, lines get smaller and spaces(between the lines) get larger. Exposure Variance In this chapter we will discuss many of the causes of exposure variancelow EOM and Rz, inadequate vacuum, lamp undercutting and non-integrated light sources. This segment deals with two of the results, under-exposure (the universally prevalent symptom) and over-exposure. Further, it deals with moisture content, a very common but unforeseen cause of under-exposure and stencil breakdown. Finally, it discusses the all-too-often senseless results of post-hardening, or virtual exposure. Proper lamp placement, adequate vacuum, balance of lamp and coating, and controlled output are the variables that are detailed in these pages. We have also recommended low-cost target films to calibrate and monitor screen exposure. Exposure is critical even where there is a minimum of detailif a screen is under-exposed, and most are, reclamation will be back-breaking. If there is a modicum of detail in the image, watch out, exposure can mean the difference in pass or fail for the image.
E Under-Exposed

This is most common because the most common method of inspection in the screen room is to hold a screen up to the light and, with the unaided eye, make a call on the quality of the exposed and developed stencil. Under-exposure is a knee-jerk reaction to a variety of problems: insufficient vacuum, poor Rz value, low EOM and a mesh that is too coarse, twill woven or has
PAGE 2 . 24

threads that are too thick. Under-exposure appears to be a viable solution to holding finer (highlight) details, the circle around the register mark, the serifs on small type faces. . .and those specs that you thought would wash out. Several things occur with an under-exposed screen: much of the coating that you applied washes down the drain because, like the portions that did not get exposed to light, none of the screen got enough exposure, and is still water soluble. There is a likelihood of this scum filling some of the image areas. Fine details like highlight dots do not plug but they will print poorly because of the development-thinned stencil. Perhaps most consequential is the fact that an under-exposed screen will show an abundance of pinholes (refer to page ___) and breakdown prematurely on the press. After the press run, the under-exposed stencil will continue to haunt you. The soft, porous squeegee side of the emulsion goes into production and friction, flash heat and plasticizer (the main component of the plastisol ink) terrorize your stencil. The coating absorbs the plasticizer and, under the flash, it quickly crosslinks the coating and bonds it thoroughly to the mesh. Now you will have a difficult time reclaiming. Finally, the bulbs begin burning out as soon as they are first used. The problem is that they will remain bright to the human eye even after the actinic portion of the energy is nearly gone. So the bright light will require an increased time and, if your system has a light intergrator, it will compensate for the most part. Still use the scales, though to monitor (refer to page 2.21 for details).
E Over-Exposed

Stencils

With a flat coating (refer to page 2.14), adequate lamp distance and proper vacuum on the exposure frame, the consequences of over-exposure are relatively minimal. Because of the conditions typical in the T-shirt shop, over-exposure threatens a significant loss of detail. Once you achieve proper vacuum, the optimal light distance and a flat coating, you can calibrate your exposures and your worry of over-exposure (or underexposure) is over.
Moisture Content

There are a few tools that will allow you to test and determine the time required for drying. The first purchase you should consider is a thermometer and hygrometer for the drying room. These will show that certain temperatures and relative humidity can have a serious effect on the dry time. The rate of evaporation is
PAGE 2 . 25

Tips For Screens And Equipment

1. Integrate through the screen, only if all screens are virtually identical. Don't force the limits of the vacuum blanket. If the glass is hot, take a break. Don't put a fan in the box of a self-contained point-light source. Clean the ink off the frames thoroughly before exposure. Keep the glass cleanbe sure that the glass cleaner does not leave behind a UV resistent film. Be sure screens are not racked before positioning. Maintain the oil level in your vacuum pump. Do not replace vacumn frame glass with tempered glass.

directly proportional to an increase in the temperature and a decrease in relative humidity. A moisture-content meter (refer to page 2.16 for details) can be a lifesaver since no one can tell by sight or touch whether a stencil is dry. It is possible to monitor airflow but, unless you are building a drying cabinet, the recommended gauges should suffice.
Contact Vacuum

Chapter 2

2. 3. 4.

Retensionable frames are quite popular in the textile-printing industry; however, many of the frames in use are racked (twisted), no longer laying flat. This condition causes vacuum frame glass to break prematurely. The use of tempered glass is not recommended as a solution, because it can obstruct the shorter wavelengths of light that expose the emulsions. One solution is to find a system that keeps the frame flat during stretching. This can be accomplished by attaching a Ushaped channel of metal to the stretching table. Line the inside of the channel with foam to protect the mesh. Be sure that the channel is large enough to slide your frame into with the foam padding. When you begin tensioning, slide the far end of the frame into this channel, it will keep the frame from twisting. It is also wise to seek a balance between breaking the glass and a proper vacuum. If you lower the vacuum too much you will see: (1) a loss of detail, (2) a shift in tonal range (halftones only), and (3) a change in image size. You may want to discuss proper settings with the manufacturer of the vacuum frame. NuArc units are shipped with a preset, but adjustable, calibration of 15 inches of vacuum. This number is based on actual testing of images with resolution common to the screen-printing industry. It is important to note that vacuum is affected by humidity and altitude. For example, on a rainy spring day in Atlantic City it will be easier to achieve 15 inches of vacuum, than in Denver on a typically dry day.
Post Hardening

5. 6.

7. 8. 9.

10. Lower than 26 psi (on the vacuum gauge) will sacrifice resolution.

Post hardening is an old trick that suggests you under-expose in an attempt to hold detail; then after image development,
PAGE 2 . 26

expose the screen again for a longer period of time. If you are so inclined, consult the manufacturer of the emulsion you are using to see if it has much posthardening efficiency. Many emulsions do not. Our test case emulsion offered a 30 percent improvementbut only at 600 percent post hardening time. You must investigate on a per-case basis. If the humidity level is high and the moisture content of the coating is over 4%, your screen is not ready to be exposed. There is no amount of exposure time or post hardening which will correct for excessive moisture. Refer to page 2.15 for more details. Lamp Parameters There are pros and cons to both independent and integrated light sources. The independent system can offer the most flexibility as well as the highest potential quality. It is imperative that the position of the lamp be controlled to optimize either the productivity or the image quality. Further, without integration, an independent lamp is problematic at best. The two types of self-contained exposure units are point-source and multipletube light sources. Multiple UV fluorescent tubes, self-contained unit (see figure 2.18): 1. are not readily available with light integrators on all tubes; 2. may build up heat and cross-link the stencil, prior to development; 3. are often designed so that the light energy undercuts the image; 4. do not often peak at the optimal wavelengths of today's coatings; 5. may work extremely fast or handle multiples of screens. Point-light source, self-contained exposure units (see figure 2.19): 1. are best when integrated; 2. may build up heat and cross-link the stencil, prior to development; 3. do not allow variable light-to-frame distancescheck center to edge light falloff;
PAGE 2 . 27

Stencils

Chapter 2
How To Instructions

Determining Lamp Distance

1. 2. 3. 4. 5. Place lamp at a distance from the screen, equal to the screens diagonal measurement. Use two identical screens, ready to expose. Use two factory calibrated 21-step gray scales and two resolution guides. Place one of each type of scale, centered on one screen. Place one of each at the extreme corner. a. b. 6. Corner of first screen if exposing one at a time. Corner of second screen if exposing multiples at a time. 1st set of scales directly in front of the lamp. 2nd set of scales at the extreme corner of the vacuum frame. Figure 2.18 NuArc's First Light is a multiple tube light source.

Load the screen(s) into the vacuum frame. a. b.

7. 8. 9.

Be certain that you have a minimum of 15 inches of vacuum pressure. Expose, develop, dry and inspect. Interpreting results: a. Two sets of scales are identical. i. ii. And the quality excellent. Lamp may be moved closer to permit reduce exposure time (page 2.31). Figure 2.19 NuArc's freestanding Metal Halide exposure lamp.

iii. Use graph in figure 2.25 to estimate results of lamp movement. b. Center scales indicate more exposure than corners. i. ii. iv. Screen lacks durability and resolution. Lamp must be moved further away. Use graph in figure 2.25 to estimate results of lamp movement.

iii. And exposure time must be increased.

Figure 2.20 NuArc's freestanding Metal Halide exposure lamp. PAGE 2 . 28

4. have metal halide bulbs that peak at desirable wavelengths; 5. multiple-up configerations limited by the physical design. Independent-light source and vacuum frames(see figure 2.20 and 2.21): 1. best if integrated; 2. no residual heat buildup; 3. position lamp for balance in speed and productivity ; 4. have metal halide bulbs that peak at desirable wavelengths; 5. multiple-up configerations limited only by the size of the vacuum frame.
Lamp Integration
Figure 2.21 The SPVF from NuArc is available in a range of sizes to serve your needs as a companion piece to a freestanding light source..

Stencils

The section below details the results of moving an independent light source closer or further from the screen. The principles for center-to-edge light falloff may be applied to self-contained point-light sources as well. If you have a single-point light source, typically a bulb with a reflector behind it, you can and should integrate the lamp. Integration is another form of monitoring the exposure of a screen and should be used in tandem with the scales described above. An integrator has three fundamental components: (1) a sensor to detect the energy from the lamp, (2) an adjustable digital meter to determine the energy level, time and again, (3) a switch to turn the lamp on and off. An integrator compensates for a wide range of variables in the exposure process. Some of these, critical to quality screen making, are: 1. altered lamp distance; 2. energy loss from voltage or lamp life (at the prescribed or preset wavelength); 3. energy falloff if the sensor is mounted on the vacuum frame.
PAGE 2 . 29

A seemingly minor change in the distance between the lamp and vacuum frame can have a significant affect on its exposure time. The integrator (and the sensor mounted on the vacuum frame) automatically compensates for any change in this distance (refer to page 2.31 for graphs that relate to this topic).
Lamp Distance

Chapter 2
As a rule of thumb, your independent light source should be the distance of the diagonal of the frame or frames that you intend to expose at one time. For example, if your screens are 26" x 35" and you are doing two at a time in the vacuum frame, your lamp should be a minimal 62" from the surface of the vacuum frame (see figure 2.22). This ensures that the light intensity at the edges of the screens is 70 percent of the amount in the center of the glass. Keep in mind that the increase will force a longer exposure time.
New distance2 Old Distance 2

Figure 2.22 Move closerexposure time decreases, but the consistency from center, light-to-edge light is compromised. The minimum distance is the diagonal of the frame(s) resulting in a ratio of center-to-edge light of 70 percent.

New Exposure Time

t e Light Falloff (center-to-edge)

Old Exposure Time

There is a law of physics that describes the relationship between the amount of light directly in front of the lamp versus the amount in the corners (or any other point). That law dictates that, if you place the lamp at the distance of the diagonal measurement of the frame, you are assured of 100 percent of the light in the center (directly in front of the lamp) and 70 percent of that amount in the corner of the frame. Move the lamp farther and the ratio of center-to-edge light improves but the exposure will need to be increased. Conversely a closer lamp needs less exposure but will leave the corners of the image even more under-exposed. There is a tendency to think that more is better. That is not often the case here. Figure 2.27 on page 2.34 shows the consequences if one or multiple screens are
PAGE 2 . 30

Stencils
Time Change With Distance Change Percent Distance Change 250% 200% 150% 100% 50% 0% 1.5 1.6 1.8 2.0 2.2 2.4 2.7 3.0 3.3 3.7 4.1 4.5 5.0 5.6 6.2 Time in Minutes (Based on 3 min. @ 100% Distance)
Figure 2.23 As you change the lamp distance (with a freestanding system) the required time of exposure changes.. The graph is based on a three minute standard at 100 percent distance. If you double the distance, multiply the exposure by four. Halve the distance and quarter the exposure.

exposed at one time. There is one real advantage to exposing more screens at once; the time for the vacuum drawing down is less, as a percentage of the total time. But even for a vacuum frame that would hold four Challenger frames, the vacuum draw-down time should be less than one minute.

Time and Distance Percentages 250% Percentage Time Change 200% 150% 100% 50% 0% 100% 105% 111% 117% 123% 129% 136% 144% 70% 73% 77% 81% 86% 90% 95%

Figure 2.24 This graph shows both the exposure time and lamp distance as a percentage.

Percentage Distance Changes

PAGE 2 . 31

Chapter 2
Results of Changing the Lamp Distance Greater Than 1 % Edge - Center Light 120% 100% 80% 60% 40% 20% 0% 3.0 2.3 1.9 1.5 1.2 1.0 0.8 0.7 0.5 0.4 0.3 Ratio of Lamp Distance to Frame Diagonal Less Than 1 1000% 800% 600% 400% 200% 0% % Change in Time
Figure 2.25 Edge Light versus Time Adjust This graph will allow you to model the results of both time and resolution if you were to move the lamp distance to the screen. 1. You must first establish proper exposure times for example 2 minutes. 2. You must be using a movable lamp. 3. It is based on a ratio of 1.0 where lamp distance equals frame diagonal. 4. This is a 100%, 2-minute exposure with 72% corner light. 5. Measure your ratio of frame diagonal to lamp distance. 6. Lets say it is one Challenger frame 44" diagonal. 7. At a lamp to glass distance of 53". 8. Your ratio is 1.20 (53 divided by 44). 9. Find the closest ratio on the horizontal axis of the graph. 10. Look upward from 1.20 on the horizontal axis to the series 1 curve. 11. This is the percentage of edge to center light or 80%. 12. Drop to the lower series 2 curve. 13. This is the percentage of exposure change or 160%. 14. 2 minutes times 160% equals 3.2 minutes or 3 min. 12 sec. 15. To improve edge lighting from 72% to 80% of the center, you will need to increase exposure from 2 minutes to 3.2 minutes for one Challenger frame.

You will find two charts on page 2.34: one for Gauntlet screens and one for Challenger screens. Column One lists the number of standard-sized screens being exposed at a time. Column Two lists the overall size of those screens loaded with no space in between. Column Three is the preferred lamp distance, which is the same as the diagonal of the total frame size. Column Four lists a nominal exposure that can be used as a multiplier for your particular exposure time or units (see example immediately following). This number increases as the lamp distance increases. Column Five lists the percentage of light in the corner of the frame. In our example, it is always 70 percent since we placed the lamp at a distance equal to the diagonal of the frame. Column Six is the multiple-frame percentage of the single-frame time. By multiplying this number by your specific time for one frame you can easily select an optimum number of frames at a safe lamp distance.
Example

After you have calibrated your exposure levels (refer to page 2.19) you have determined that the proper time is two minutes for a 23" x 31" Gauntlet screen, with a lamp
PAGE 2 . 32

distance at the frames diagonal dimension,or 38". If you were to load two frames of the same size, your exposure would be 209 percent of the 2 minutes or 4.18 minutes (4 min. 11 sec.) at a distance of 56 inches lamp-to-glass, the falloff would be identical to that with the single screen. Note that the per-frame exposure would be slightly longer but this would be offset by the vacuum draw-down time.
Gauntlet Conclusion

Stencils
Exposing A Screen
1. 2. 3. Use an integrated light source. Measure and standardize lamp-to-glass distance. Calibrate exposures for each set of mesh and coating specifics. a. b. c. d. 4. Measure and record EOM. Measure and record Rz. Measure and record stencil thickness. Use a calibration test film. How To Instructions

Monitor each exposure.

As you can see from the table, a. 21-step gray scale. the lowest screen-exposure b. Transparent resolution guide. time is one frame per. But 5. Expose same meshes and coatings per exposure. when you consider vacuum draw-down time, the others 6. Adjust times, units and lamp placement based on developed scales. can become a bit more equitable (particularly if your blanket needs to be repaired or replaced). Given the capacity, two or four would be agreeable as long as the frames are not too close to the edge of the vacuum beading. Avoid the oddshaped three-frame configeration, as the per-screen time is prohibitive.
Gauntlet Per Screen Exposure 115 110 105 100 95 90 38 1 55 2 70 3 77 4
Figure 2.26 When you expose multiples of screens with a freestanding lamp, you have the opportunity to move the lamp for higher productivity or higher quality, but the two directions are opposite. The graph shows that a multiple of three Gauntlet screens should be avoided for optimal results.

Per Screen Exposure

Distance / Number of Frames

PAGE 2 . 33

Chapter 2
Gauntlet Screens Overall Screen Dim. Lamp Distance Center Units (Based on 100%) Corner Units Exposure Per Frame

1 2 3 4

23 x 31 46 x 31 46 x 54 46 x 62

38 55 70 77

100% 209% 339% 412%

70% 70% 70% 70%

100 105 113 103

Figure 2.27 The table lists the data used for per screen exposure time in the graph above.

Challenger Conclusion

As is the case with Gauntlet screens, three screens should be avoided. Refer to the table and chart immediately above (figure 2.24 and 2.25) for the details on the Challenger screens. Two up is satisfactory and four is preferable if your vacuum frame capacity is sufficient. Be cautious not to get too close to the edge of the
Figure 2.28 With an exposure unit that will accommodate up to four screens, four Challenger screens would be the most productive quantity to shoot. Three would be the lowest productivity per screen to hold the same quality of center to edge lighting.

Challenger Per Screen Exposure Per Screen Exposure 120 115 110 105 100 95 90 43 1 62 2 80 3 87 4

Distance / Number of Frames

vacuum blanket beading. Doing so will only stretch the components and cause leaks. The vacuum will take too long to draw-down resulting in no combination of screens that will expedite your screen exposure.
Challenger Screens Overall Screen Dim. Lamp Distance Center Units (Based on 100%) Corner Units Exposure Per Frame

1 2 3 4

23 x 31 46 x 31 46 x 54 46 x 62

38 55 70 77

100% 209% 339% 412%

70% 70% 70% 70%

100 105 113 103

Figure 2.29 The table lists the data used for per screen exposure time in the graph above.

PAGE 2 . 34

Developing The Stencil

Stencils
Developing The Stencil
1. 2. 3. 4. Use a backlighted sink. Use consistent 125 water temperature. Use an air/water mixing gun. With a high volume, low pressure mist: a. b. c. d. 5. Spray the impression side thoroughly. Spray the squeegee side thoroughly. Repeat in 30 seconds. Wait an additional 30 seconds. How To Instructions

The process of developing (or washing out) the stencil receives little attention, but it can be a subtle cause of many imaging problems. The idea is to apply water to both sides of the stencil and allow the unexposed areas to act like a sponge and suck the water up. This leaves the coating very fragile and, with a light pressure, the softened areas dissolve and wash down the drain. For this to happen consistently may require some planning and preparation. Use a backlit sink for washout; to save remake time with those areas that you just can't see without illumination. A water-temperature mixer keeps the water at F for consistent and reliable results. The temperature should be a consistent 125. A power washer (not the force used for reclaiming) mixes air from your compressor with water to keep shrinkage to a minimum. Most of the developing should be done from the squeegee side of the screen to protect the shoulder of the image on the impression side.

With firm pressure and lower volume; a. b. c. d. e. Work from the squeegee side. Maintain a 6-8" distance from the screen. Move continually from top to bottom. Neither favor nor ignore gray scales and resolution targets. Gently spray impression-side only if needed.

6. 7. 8. 9.

When complete, rinse with cold water. Vacuum excess water from squeegee side. Vacuum excess water from impression side. Inspect for any residual coating in image areas.

10. If found, reapply firm pressure to that area and continue as above. 11. Process multiples for effiency. 12. If you have difficulty, review the section on storage and screen room lighting

PAGE 2 . 35

S t encil Finishing Tips

If Touch-up takes more than 60 seconds per screen: 1. 2. 3. 4. 5. Record the number and times on a sheet of paper. Record the reason why (films, coating, exposure, etc). Set the screens aside for hourly inspection. Return the screens to the responsible party. Notify your supervisor.

If you find you must resort to blasting the coating off of the screen, something is wrong. This is a particular problem if the emulsion is under-exposed (refer to page 2.24 for details). The screen may have been exposed to light or heat, or could just be too old to work well. In any case, blasting is not the best answer. U Touch-Up If you subscribe to the recommendations in this manual, you will have little need for screen touch-up (also known as spotting, filling, blocking, blocking out, pinholing and many other names). The purpose of touch-up is to seal the ink from accidently printing or seeping through and ruining garments. It is not intended to be a repair station for poor films or screen processing. The greatest reason for excessive touch-up is a stencil that is too thin. There are a variety of reasons that this might occur. First is that the coating applied was too thin (refer to page 2.14). Second that the screen was under-exposed (refer to page 2.33). Dust, dirt, static electric-charge, coarse mesh, thick threads, coaters that are too large, coaters that are damaged, and bad emulsion are all blamed for pinholes. Of course, all of these can be culprits, but are most often secondary to a thin and under-exposed coating. Since the purpose of touch-up is not that of a repair station for poor processing, there should be a go/no-go point as a standard for passing or rejecting screens that need mummified. That point is 60 seconds for Challenger and Gauntlet screens. If you cannot touch-up a screen in 60 seconds, something is wrong. If you average one screen in 60 seconds (hopefully and realistically less) then one person can touch-up over 400 in a shift. Work to make your touch-up process more of a final inspection step. If you concede that this is reasonable, then you will want to initiate one of the procedures outlined in the sidebar on page 2.34.

Chapter 2

To ease the usage, application, and removal of perimeter tape: 1. 2. 3. Calibrate your press and use minimum squeegee pressure. Use a proper-sized coating trough. Thoroughly dry the screen prior to exposure; this permits complete and proper exposure. Thoroughly expose the screen, being sure to cure the emulsion on the squeegee side. Use permanent blockout on the perimeter. Use a quality tape intended for the job. Use a tape that strips clean (without residue) and quickly (without ripping).

4.

5. 6. 7.

PAGE 2 . 36

Taping the Perimeter

Stencils
1. 2. 3.

The taping process has sadly evolved into a mummification process, and the reasons are only sort of legitimate. The press operators know from experience that the stencil will break down prematurely, so they use an abundance of tape to prevent leaks. It is affective but should not be necessary. First, the stencil must be properly coated, dried and exposed (refer to pages 2.14, 2.16 and 2.33 respectively). Such a stencil will not break down rapidly. Secondly, use a quality tape intended for the purpose. Cheap masking tape will cost you a fortune in leaks and time to strip it from the screen. A foot of quality tape costs a nominal 8, which is the cost of one minute of time for a $5-per-hour employee. But your press can earn you 8 per second (at 40 per shirt and a 60dozen-per-hour cycle rate). All breakdowns take more than a minute to fix and will ruin a few shirts in the process. The key to economy is to use the tape for the purpose it is intended. There should be no need to tape the whole screen and never to tape both sides of a production screen. If you think you are taping for strength you may be mistaken. The tape restricts the normal flexing of the screen and does nothing to stabilize tension. Next thing you know, you need more squeegee pressure to transfer the ink...check mate.

Tips To Ease R eclaiming

To make reclamation as easy as possible: Supply hot water at the prescribed pressure and volume. Use the prescribed reclaiming chemistries. Thoroughly clean and dry screens before applying reclaimer. Avoid a coating trough that is too long. Avoid coating softened corners. Thoroughly dry screens prior to exposure. Thoroughly expose the coating. Avoid solvent based "screen openers" on press.

4. 5. 6. 7. 8.

Reclaiming The Stencil

This process often takes a variety of inks and chemistries and shoots them all over a roomno wonder it seems to be a messy job. Use the appropriate hand and eye protection for your safety. Since the primary focus of this manualand the primary goal of a pressis to run efficiently without stopping, you may want to adopt the following procedures. It is easier to find unskilled labor than semi-skilled or skilled, and we assume that some of your most skilled operators are press operators and paid accordingly. If so, all you really want them spending their time on (workload permitting) is printing and the accompanying paperwork. Any distraction can be a
PAGE 2 . 37

Chapter 2
How To Instructions

Reclaiming A Screen
1. 2. 3. 4. 5. 6. 7. 8. 9. Remove residual ink. Remove tape and tape adhesive completely from the screen. Use a screen wash that is compatible with reclaiming chemistry. Mist reclaimer on both sides of the screen. Lay screen flat impression aide up. Wait three to five minutes. Use hot water140 plus. Use high volume watertwo to four gallons per minute. Use high-pressure water1200 psi at two to four gpm (gallons-per-minute).

costly error in labor utilization. So it is our recommendation that the press operators do not shut the press down to clean screens, ink and blades: but they should be cleaned immediately and thoroughly before sent to reclamation. Once the screen is thoroughly cleaned with commercially available cleaners, which rinse fasr and completely, it should be allowed to dry. When dry, reclaiming chemistry should be applied to both sides and allowed to penetrate the stencil before proceeding. Since there is a waiting period of a few minutes, you may want to spray several screens at once and allow the chemistry to do its work while you are reclaiming the previous batch. (Note adding reclaimer to wet screens only dilutes its effectivenessparticularly one that is wet with screen wash).

10. Work from the squeegee side. 11. Sustain a four to five inch distance from wand-toscreen. 12. If you have difficulty, review the section on proper exposure (page 2.19). 13. If you have residual haze review the ink and washup sections.

The water temperature used to reclaim screens should be hot150and flow at a nominal 2-4 gallons per minute. You will want to be sure your hot water supply can deliver this quantity of water. Take the number of screens per day and multiply that by the time per screen. Then presume that you may want to do them without stopping. For example, 50 screens per day at our recommended three minutes per screen equals 150 minutes at 2-4 gallons per minute of intermittent water at 150 F or hotter. The initial pressure of the power washer is best suited around 3000 psi and derated by changing the orifice to output 2-4 gallons per minute at or near 1200 psi. High-pressure air does not remove the stencil, high-pressure water does.
PAGE 2 . 38

Many of the bargain pressure washers claim high-pressure but don't output much water.

Stencils
Minimizing The Need F or Haze R emo v er
1. 2. 3. 4. 5. 6. 7. Calibrate the press for minimal mesh abrasion. Sufficiently tension screens to reduce abrasion. Minimize squeegee pressure. Ensure thorough exposure. Use adequate pressure and water flow for reclaiming. Use a proper wash-up chemistry applied as directed. Clean the screens immediately after use.

The active ingredient in reclaiming chemistry is sodium metaperiodate. It is normally used at 3 percent concentration (higher concentrations come out of solution readily and the SmP falls to the bottom of the pail). It is available in liquid or crystal form. If you are mixing your own to save dollars, be sure that such is really the case. Overor underuse of the crystals could cost you far more in raw materials or conversion. For standard-sized Challenger and Gauntlet screens, you will want to allow 2-3 minutes per screenif the conditions here are followed, that number is very attainable. (Note that it will require less time if you have used a permanent blockout on the perimeter of your screens (refer to page 2.13 for details). If you find you cannot attain this rate and you have the proper chemistry, water pressure and flow rate, read pages 2.37 through 2.38 on screen exposure. It may be that you are crosslinking the coating on press due to under-exposure. For comparison, test-reclaim a screen that has not been used on press and see if it is marginally easier. Haze Remover It is often necessary to remove ink haze that should have been removed in the wash-up phase prior to reclamation (refer to page 2.40 for the details). Poor housekeeping habits in this area will cost you money. The distinct disadvantage in the use of haze remover is that it shortens the life of the screen mesh. Continued and repetitive exposure to caustics will cause enough erosion that the fabric will rip or burst prematurely. And the cost of this is extreme if it rips on press. If you can't seem to get rid of the ink haze, consider the color ink with which you are having a problem. Ink haze is a result of the inability of your wash-up to disolve the vehicle in the ink. Specifically, blues and blacks are the most notorious colors for plastisol haze. The reasonthese pigment particles are

PAGE 2 . 39

lightweight and high in oil absorption. These properties cause the ink manufacturer to use different (polymeric) plasticizers, which are insoluble in many conventional wash-ups. Second, the dye in some of the very bright red inks, which origniallyattached to the pigment, leaves the pigment during printing and becomes attached to the mesh. The stain caused by this process may not restrict particle passage, but certainly will effect exposure time in the affected areas. Finally, is the example of white inks, which use polymeric plasticizers, however the particle size is infinitely smaller. The problem it invades all the nooks and crannies of the mesh; resulting in the worst of all three types of ink haze. If you have hazeno matter what you have triedget your screen chemistry and to ink supplier and ask them to find an equitable solution.

Chapter 2

Real-World Results
While it is difficult to provide exact specification for your shop (due to the variance in equipment, products, etc.), we furnish a starting point through real-word examples offered as a guideline. Our tests were conducted at Kiwos laboratory. They provided lab personnel and the specified emulsion. Dynamesh provided the specified screen mesh. Screens and stencils were prepare to our specifications, measurements taken on all typical parameters of the stencilthe results can be found in figure 2.30. This test gives you actual case studies, so that you can gauge the performance of your stencils. Nothing was done to force the results; no tricks or unusual techniques were used. These stencils are just as you might process in your plant. S Prepared Test-Screens Column One lists the nominal mesh count in inches. Column Two the thread diameter in microns. Column Three lists the initial tension in Newton's per square centimeter. Column Four is the method of coating used. For example if it reads: 2 imp-3 sqg.-Dry-1 imp, the screen was coated two passes on its impresMC TD N/cm Method Edge Type Dry Moisture Rz EOM

80S 150S 230S 305T

71m 45m 40m 35m

25 23 25 24

1 Imp. - 1 Sqg. 1 Imp. - 1 Sqg. 2 Imp. - 1 Sqg. 2 Imp. - 2 Sqg. Dry - 1 Imp.

Rnd. Rnd. Rnd. Rnd. Sharp

Dual Dual Dual Dual

1.0 1.0 0.5 0.3

< 4% < 4% < 4% < 4%

16.2 9.5 10.4 8.3

25.0 14.2 6.6 5.8

Figure 2.30 The table shows the real-world results of our four test screens, coated, exposed, dried and developed. Although your screens, methods and results may vary, the data serves as a guideline for your stencil methods. PAGE 2 . 40

sion side, turned and given three passes on the squeegee side, dried and given one more passes on the impression side. Column Five is the edge of the coater round or sharp. Column Six is the type of emulsion used. Column Seven is the time it was given to dry in decimal hours. That is, 0.5 hours is equal to thirty minutes. Column Eight is the moisture content as a percentage after the given dry time. Column Nine is the Rz flatness of the stencil. And Column Ten is the emulsion over mesh. These two were measured after the stated exposure time. Figure 2.31 shows the results of the exposure test on the four test-screens. Column One gives the mesh count in inches. Column Two is the thread diameter in microns. Column Three is the type of lamp used including the wattage. For
MC TD Lamp Distance Units Time g/in Step Pos. Res. Neg. Res.

Stencils

80S 150S 230S 305T

71m 45m 40m 35m

8kW 8kW 8kW 8kW

50 50 50 50

150 75 55 45

150 sec. 75 sec. 55 sec. 45 sec.

0.2 0.2 0.1 0.1

6 5 8 8

8.5 3.5 3.0 2.5

8.0 3.0 2.5 2.0

Figure 2.31 This table shows our test screens and in grams per square inch the amount of coating that was applied and then the resulting EOM and Rz for this application.

example a 5kW MH is a 5000-watt metal halide lamp. Column Four is the distance from the lamp to the vacuum frame glass during exposure. Column Five is the exposure units. Column Six is the exposure time. Column Seven is the weight of one square inch of coated mesh (the weight of the mesh is not included in this number). This will allow you to compute the cost of the product coated to this level. Column Eight is the step on a 21 step transparent gray scale. Column Nine and Ten are the positive and negative resolution in mils. The Cost Of The Coating The table shown in figure 2.32 gives the weight of the mesh alone on the four
Mesh Count Fabric g/in 1 Coat g/in Pct. Gain 1+1 g/in Pct. Gain 1+2 g/in Pct. Gain 1+3 g/in Pct. Gain

80 S 150 S 230 S 305 T

4.0 g 4.0 g 4.1 g 4.0 g

.14 .09 .06 .04

3.5% 2.2% 1.4% 1.0%

.25 .16 .09 .06

6.2% 4.0% 2.1% 1.5%

.35 .23 .12 .08

7.9% 5.7% 2.9% 2.0%

.45 .29 .15 .10

9.9% 7.2% 3.6% 2.5%

Figure 2.32 The table shows the resulting weight of coating applied for single and multiple coats of emulsion on our four test screens. PAGE 2 . 41

test screens. We then applied several coats of emulsion, weighed the mesh after each coating was dried and recorded the increase in weight (coating only weight). The coating used has 50-percent-solids and so the dried coating is approximately half of the wet coating.

Chapter 2

Column One lists the four test screen mesh counts. Column Two lists the weight of the mesh in grams per-square-inch. Column Three is the beginning of the application of the coats, one pass only and lists the weight of that coating. Column Four lists the weight in Column Three as a percentage. Column Five lists the results of 1-plus-1-coats and so on, up to and including 1-plus-3-coats. Highlights from the table are plotted in figure 2.33 . Specifically, an 80S mesh weighs 4.0 grams per-square-inch uncoated. If you apply one pass with a round-edge coater, you are adding 0.14 grams per-squareinch. This is equal to a 3.5 percent increase over the weight of the mesh. Look at the end of the row with 1-plus-3-coats of emulsion on the uncoated screen. An addition of 0.45 grams of emulsion per-square-inch is the result, which equates to a 9.9 percent increase over the uncoated mesh.
Screens Per Gallon 250 200 150 100 50 0 80S 150S 230S 305S

Number of Screens

1+1

1+2

1+3

Coating Method
Figure 2.31 The graph shows the number of our four test screens that can be expected from the four coating methods used. Of course the single coat would yield the most screens but only at the sacrifice of resolution and press performance. PAGE 2 . 42

This data should not be construed as a limit for the number of coating you apply to your screens. That decision should be based on resolution and press performance. It is intended to help you see the results of multiple coats of emulsion applied to a given mesh count.
Mesh Count Fabric g/in 1 Coat g/in Pct. Gain 1+1 g/in Pct. Gain 1+2 g/in Pct. Gain 1+3 g/in Pct. Gain

Stencils
.14 .09 .06 .04 3.5% 2.2% 1.4% 1.0% .25 .16 .09 .06 6.2% 4.0% 2.1% 1.5% .35 .23 .12 .08 7.9% 5.7% 2.9% 2.0%

80 S 150 S 230 S 305 T

4.0 g 4.0 g 4.1 g 4.0 g

.45 .29 .15 .10

9.9% 7.2% 3.6% 2.5%

Figure 2.32 A 26" x 35" OD Challenger screen has a nominal coated area of 17" x 24" or approximately 400 square inches, coated with a round-edge coater, at 50 percent solids.

The table shown as figure 2.32 is an extension of the data in figure 2.30. It uses the same four screen meshes and lists incremental amounts of coating weight to each of the screens. It then estimates the number of screens that could be coated in that manner from a gallon of 50% solids emulsion.

Screen Coating Estimator 250 200 Quantity of 150 Screens 100 50 0 80 S 150 S 230 S 305 T 1 1+1 1+2 1+3

Screen Mesh Counts

Figure 2.33 The Screen Coating Estimator allows you to gauge the number of screens that you can get from a US gallon of emulsion for our four test screens under the coating methods described herein.

Specifically, 305 T mesh, prepared with 1-plus-2 coats would have a coating weight of 0.35 grams per-square-inch. Such a coating weight would allow you to coat a 17" x 24" area of mesh for a yield of 108 screens-per-gallon.
PAGE 2 . 43

Benef its Of Pr oper Coating Thic kness

1. Fewer pinholesstecil bridging is improved by the thicker coating Longer press lifestencil elatisity is maintained and the thicker stencil is more resistent to squeege abrasion. Sharper printing at higher resolution is assured because along with proper EOM, comes an improved stencil flatness. Less downtime due to blurring and dot gain because the stencil gasket acts as a barrier to the ink filling nonimage areas.

If you alter the conditions, obviously you will change the resulting estimate of screens-per-gallon. A sharper blade, more passes, intermittent drying, a coarser mesh-count than specified, a larger coated area or a thicker thread diameter will all consume more coating. To calculate a 21" x 31" OD Gauntlet screen with an nominal coated area of 15" x 22", or approximately 330 square inches, coated as in figure 2.32, multiply the number of Challenger screens (listed in the same table) by 1.21the result is the total number of Gauntlet screens that can be coated with a gallon of emulsion. So you would get 107, 305 T screens from a gallon coated 1-plus-3 wet-on-wet coats as applied in the table. To estimate a cost-per-screen take the number of screens and divide it by the cost-per-gallon. For example, if you coat 88305T screens with a 1-plus-3 method, as described in figure 2.32, and your cost is $75 per-gallon, your cost per -creen is approximately 85 cents. At a glance you can see that your screen cost goes up, if you put additional coats of emulsion on the screenshardly a surprise. But you must realize that with the additional coats, there is a return on your investment. If for no other reason then press downtime, you should use the additional coats, they are a bargain regardless of your image. Refer to page 2.13 for Rz and EOM results and use these to monitor your progress.

Chapter 2

2.

3.

4.

PAGE 2 . 44

I. Ink Properties Optical Rheological Thermal II. Troubleshooting Ink Tack Build-Up U Adhesion And Surface Energy Fusion Testing Dyer Temperature Testing III. Ink Mileage

Chapter

3
INKS

Ink Properties
The purpose of this section is to help establish a common language between the ink compounder and the printer. These are properties that the ink maker can identify and assign a repeatable range. For the informed printer it allows a fast comparison of a variety of inks with a minimal amount of testing. We are in an industry with no standards and this is slowing our evolution. The printer cannot count on the ink printing the same time after time and is rarely sure if the ink is at fault or if the cause is the balance of the print process. Such is our world without standards. For all other applications, the plastisol manufacturers offer a Certificate of Analysis that describes any normal or special variance of the product that has been purchased. Ironically none of these alternate processes is more complex or more variable than screen printing. Ask your vendor if you are a large enough account to warrant a CofA with your ink. There are a variety of problems with some ink currently on the market. Far too often, these are remedied by an adjustment on the press. If the press ran slow, M&R would expect that you would call and we would do something about the problem. If the ink is forcing you to run slow, realize that ink solutions from the press may be costing you productivity and quality. The point is that what you dont know about your ink may hurt you. If in fact the ink is problematic, the best solution is to fix the ink not to use the press, mesh,
Ink Problem Press Compensation Record Lost Dozens per Hour

Inks

Build-up After flash tack Low opacity Screen hang-up Blade hang-up Over plasticized Excess tack Thermal sensitivity Dilatent white High viscosity Poor grind

Flash cure Cooling station or fans Double stroke, second screen Higher off-contact Lower angles, wider gap Longer flash time Higher off-contact, tension Periodic cooling breaks Slower blade speed Higher blade pressure Periodic cleaning breaks

Figure 3.1 Use the table above to record the number of dozens per hour you lose, due to the press fix used to compensate for ink problems. This will give you a more concrete idea of what problem ink costs you in downtime and leverage to discuss the issue with your ink manufacture. PAGE 3 . 3

stencil or anything else. The problem is, you may not always know if the ink meets your specifications-you may be laboring with art, screens, stencils, press, flash or dryer to solve a problem caused solely by the ink.

Chapter 3

For our test purposes we used white ink manufactured byHaden-Horne Ink, as white is familiar to all readers and by far the most commonly used color. Each of the manufacturers in the market place has a boatload of whites and some of the companies are hard pressed to tell you which to use. Once you understand the available data on each of the whites and get comparable data from your supplier, it is simple to determine why and where you should select a white or any other color. Not all manufacturers perform all listed tests, nor do they encourage publishing the results. All of these facets of ink performance can be listed on a Certificate of Analysis. The properties listed below are offered as a starting point in your search and are divided into four categories: optical, rheological, thermal and physical. Optical The optical properties of the white are very important, as it is the color most often used as an underbase. As such it may have a strong affect on the overprinted colors, particularly if they are transparent. Further, the aesthetics of a white are critical- it must not look dirty or yellowed. Following are the standard specifications for white plastisol ink.
H-Cote 9000 Optical Specifications Delta Peak Gloss Opacity E Spectral Pctg. Per Mil Bleed Resist

L*

a*

B*

92.04

-2.81

-2.65

<1

480 nm

50

75% @ 1 mil

.3372 .3562

Figure 3.2 This table lists the optical properties of the H-Cote 9000 white ink. The test was done on a 1.5 mil deposit on a black tee shirt. The Luminosity indicated not total opacity on the tee shirt, 100.00 would be totally white. The a* and b* read slightly toward a blue-green cast, away from a yellow-red cast. The Delta E was not measurable but that should be expected batch-to-batch variation of white inks. The peak spectral supports the a* and b* data, it was 480nm, a slight bluish green cast. The gloss level was very low at 50%, which indicates a desirable printing surface. On a drawdown, the ink develops 75% of its opacity at a one-mil deposit. The bleed resistance on a one to five index was a three, this series is not intended for bleed resistance. The chromaticity coordinates are very near daylight at .3372 and .3562, once again they indicate a slight shift toward the blue-green.

L*a*b*

The L*a*b* opponent color system is an industry wide standard, used to compare the accuracy of color matches. Opponent systems gauge the color between a series of axes. The axes have two poles each; as the color specimen gets closer to
PAGE 3 . 4

one pole, it automatically moves away from the other. For example, the more white a color contains, the less black it can contain and vice versa. The same holds true with red versus green, and yellow versus blue-there are no reddish greens or bluish yellows. The L* is the luminosity of the color or its position between a high of white and a low of black. The a* horizontal axis is the position of the color between absolute red and green and the b* vertical axis is the position of the color between absolute yellow and blue. Even though white ink is seen as colorless or achromatic, it has attributes of color that can be modeled. A white that has a bluish cast, such as the one shown in figure 3.7,will appear whiter to the observer. It is an indication that the white pigment used has been altered with a blue tint, which negates the yellow cast

Inks

Figure 3.3 The L*a*b* Solid Color Model is the de facto standard map for color consistency. It is an opponent based model in that as the position of a color approaches one pole, the influence from the opposite pole is lessened. Primary color attributes can be specified between the three axes. Photograph compliments of Hunter Labs. PAGE 3 . 5

Color Matc hing

We have all been asked to make sure the image color matches on all seventy-two of the garment colors. For you who have never been asked, we offer a few caveats; there are two phenomenon called simultaneous contrast and adjacency contrast that may keep you from delivering as needed. The first one implies that we do not see the color of images as isolated entities. Rather we see the entire image; our impression of the color is a composite of all other surrounding colors. The second phenomenon implies that our impression of a color can change radically depending on the color that is immediately beside it. Assuming the ink is opaque enough to hide the garment color, you may still have a radical difference. It will most often be with the perimeter colors. If there is a hard border, you may get away with little trouble-but consider the following example: You need to print a yellow sun in the background on both white and violet T-Shirts. On the white T-shirt there is little value contrast between the shirt color and the sun. Printed on the violet shirt the contrast is overwhelming, because the two are complimentary colors, which creates extreme contrast. Your focus will be forcibly taken to the perimeter and it will overpower most everything in the image. Beware of borderless images and complimentary hues when the garment color is changed.

inherent in the raw TiO (titanium dioxide) pigment. The bluish cast makes a cleaner looking white and this cast will show up on an L*a*b* color model.
Delta E

Chapter 3

The delta E of a color is a measure of the distance from the color match to the sample or target color. It is a result of the L*a*b* opponent color parameters. The delta E is less of an issue with a white as white is opaque and less sensitive to a shift with a change in deposit. Delta E is the resulting variance in all three L*a*b* attributes that indicates color variance in that batch of ink. All manufacturers have a range of tolerance

Figure 3.4 "Essentials" is a T-shirt-print of a fiduciary image used to diagnose print parameters. The ink sets can be used for a variety of applications including delta e measurements. Delta e is the resulting variance of data developed in the L*a*b* color model. The Hi-Res AccuColor garment is provided compliments of Target Graphics.

PAGE 3 . 6

in the color and a lower number is better. Not all colors will fare as well as a white. The range can be due in part, to the thickness of the test specimen.
Peak Spectral

Inks

Color Matc hing (continued)

Further there is the issue of gloss. Before you try to discount the effect of gloss on color, look at a PMS book-coated and uncoated-and think again. The white T-shirts typically would have less ink on them and thereby may have a lower gloss. Find a neutral gray card and punch a hole in its center. Use this to isolate questionable colors by laying it over the printed shirt. This will allow you to see if in fact you matched the colors-you may not be able to match the appearance of the image due to the effect of the perimeter color.

The peak spectral response of a color is its dominant wavelength. The visible spectrum ranges from approximately 400 to 700 nanometers and within that range a color will have a peak indicating its hue. In the case of our white the peak is 435 nanometers at 95 percent reflectance, which indicates a blue tint. If the white is to be used as an under base, its cast should be minimal and only to the blue side or it can quickly alter the appearance of transparent color overprints with colors such as Pantone or process yellow.
ytisnetnI & noitarutaS ,euH
htgneleva W elbisiV
055

Percent Reflectance

Figure 3.5 Spectral Response Curves are the "tell-all" for color analysis. Shown here are three primary attributes of color identified, as the curve would depict them. This color is a cyan plastisol printed at less than one mil. You can see that it peaks at approximately 460 nm, has a moderate reflectance of 86 percent at that peak and that the red component (21 percent) in cyan gives it undesirable grayness. This grayness desaturates the color to 64 percent. Graph compliments of First Aid Ltd.

Gloss

The gloss of the plastisol is taken at 60 and our white drawdown has a low gloss of 30 percent. Be cautious of higher
PAGE 3 . 7

09

08

07

06

05

04

03

02

01

001 007
056

x*800-E13.5 - 3 x*1531000.0 + 2 x*5521.0 - x*62.05 + 7527-

006

005

054

004

09 08 07 06 05 04 03 02 01

001

Bloody Myst er y
There are three times when you may be surprised to see dye bleeding. First when the color of the bleeding does not match the color of the garment. Second when your reds and maroons arent a problem but the blues and greens are. And third when the bleed resistant ink stays white but the overprinted color turns. First as an example, you print a black tee, but the bleeding is a totally different color than the shirt because the garment has been over dyed. It was another color previously but left over, so the garment people said, lets dye this one black and ship it anyway. There is a limit to the amount of dye that can attach to the garment. It is based on the propensity of that dye to fill the available dye-sites (microscopic nooks and crannies of the fiber). The problem is the original color should have been at, or near, the limit already. Over dying is a risky business because of the availability of the dye at the surface of the garment, and the ease with which it can be detached from the fibers. Second, the manufacturers use bleaches like organic peroxides to neutralize the color of the dyes. The functionality is totally different for reds and blue T-shirts, as different as addition and subtraction. If the bleach is adding when it should be subtracting you may end up with a bleeding dye. The ink manufacturer may need to use a combination of bleaches to neutralize both colors. The problem arises when the printer has solved the problem for the red bleeding

gloss levels if you intend to use the ink as an underbase. Higher gloss is indicative of a smoother finish, perhaps due to higher plasticizer level, which indicates lower surface energy

Chapter 3
Printers Color Wheel

Too much cyan or not enought magenta.

CYAN

Too much cyan or not enought yellow.

BLUE

GREEN

Too much magenta or not enought cyan.

Too much yellow or not enought cyan.

MAGENTA
Too much magenta or not enought yellow.

YELLOW RED
Too much yellow or not enought magenta.

1999, First Aid Ltd. Figure 3.6 The Printers Color Wheel is a model for process color balancing. This is a color wheel based system for printers to use as a guide when trying to balance colors on a process job. It not only shows primary and secondary colors, but in addition it shows both sides of a colr shift of CYMK and RGB colors. A laminated version of this color wheel is available from First Aid Ltd. for press-side use. Image compliments of First Aid Ltd.

and poor ink trapping (refer to page 3.37 for details). Also there is the aesthetic value of the ink,and by far the public does not want gloss unless the print is athletic numbering or related images. Note that the gloss should be determined with

PAGE 3 . 8

a drawdown, not a print as the texture of the print would give an artificially low reading.
Opacity per Mil

Inks

Bloody Myst er y (continued)

and not the blue or visa versa. Just because one is solved, the printer may assume both have been solved, but it all depends on the type of bleach the garment manufacturer used. Third is when the white doesnt bleed, but a color printed over the white does. In this scenario the overprint color is highly plasticized, probably containing more (and different) plasticizers than the white. Its plasticizers migrate over time into the white film, plasticize the polyester yarns, and allow a river of plasticizer for the tiny dye molecules to swim to the top. The over-print colors on a bleeding T-shirt should have a minimum of plasticizer and if they are highly transparent fluorescentscheck twice.

The opacity of an ink color should be noted per mil and a one-mil deposit is typical and indicative of a 305-mesh

Figure 3.7 The GATF test image shows the results of fast recovery and high opacity white inks when used as an underbase. The reflection density of the white is 0.01, for near total whiteness. The fast recovery and high mat-down kept virtually all fibers below the ink surface through a 305 mesh. HiRes AccColorcompliments of Target Graphics Ltd.

deposit. The printer needs a white that will develop opacity at the thinnest deposit possible. This is a real-world measurement, because all whites are opaque if you pack them on the shirt thick enough. The opacity is given as a percentage of total opacity (at a one-mil deposit) and a higher percentage is always preferable. An ink drawdown and an opacity card are used to evaluate per mil ink opacity. The top half of the opacity card is white and
PAGE 3 . 9

Chapter 3
How To Instructions

Testing For Sublimation

There are many causes of "bleeding" on synthetic garments containing polyester. They all relate to how much the printer is willing to pay for garments. The problem is the quality of garment dyeing. Manufacturers know how to stop it, but it would raise the price of the shirt. So the ink makers must try to compenstate for a problem that is solely the garment manufacturers doing. Sublimation occurs when dye becomes a gas without liquefying first and "gasses" through the ink. There is a technique where you run the suspect garments through the dryer prior to printing in an attempt to fix the dyes in the garment. Those who preheated their T-shirts were often disappointed because the dye fell right back on the garment. The pre-setting is a waste of time and energy. After investigation we learned that sublimation occurred at 250, but the plastisol ink goes into gel at 150. Further, dyes do not sublimate until 250, they remain below the plastisol until that point. Meanwhile, plastisol becomes an insulator at 150, insulating the dyes in the shirt from additional heat. So most of the dye-bleeding problem is not directly related to sublimation. To see if dyes are being released from the garment, use a white Pellon stock approximately two-inches square and punch a hole in it. Temporarily secure the sheet to the garment and put it through the dryer at normal speeds and temperatures. If the dyes are available the Pellon will pick them up and upon inspection, you will see traces of the dyes. You have two options at this point. First, if you ran your test with higher-than-fusion temperatures, reduce the heat, this should eliminate sublimations. Second, you could look for different ink one that passes this test.

the bottom half of it is black. The white ink is drawn down on an opacity card to a prescribed thickness. A colorimeter or densitometer is used to measure the whiteness (reflectance) of the ink on both ends of the card. Total opacity would mean that the ink looks the same on the white and black ends of the card. If there is a variance in the two the percentage of the white and black ends is taken at the thickness of the drawdown. Lets say that the deposit is one mil and the white ink on the bottom (black end) of the card has 71 percent reflectance.The white ink at the top of the card (on the white end) has a reflectance of 95 percent. The resulting opacity is 75 percent at one-mil or 1600 square feet per gallon.
Bleed Resistance

There are a variety of methods the ink manufacturer uses to ensure the white will stay white on a variety of colors of polyester-containing garments. The most commonplace method is to bleach the dyes to a neutral color, with the use of organic peroxides. Just as a hair stylist bleaches dark hair to light, they can turn the dyes to clear. Typically the type of peroxide used on red garments is different than the ones that neutralize blue dyes, so the manufacturer may resort to the use of a pair of organic peroxides in tandem.
PAGE 3 . 10

More important than how to stop the dye is now to avoid triggering the dyestuff. There are two methods of achieving such a product. First is by the selection of a plasticizer that is less likely to plasticize the polyester fibers. Certain plasticizers are literally used as carriers for dyestuffs and they can act as a conduit for the dye once it is released from the garment fibers. This family of plasticizers should be avoided. The second point is to use the minimal amount of plasticizer that the application will permit and most of the inks contain more than is desirable. Bleed resistance can also be achieved with the use of blowing agents comparable to those used in puff inks. These create a cell structure that accomplishes two goals, to keep the fibers below the ink surface and to construct a maze that the dye will have to navigate to reach the surface. Note that much of the bleeding is from the top of the garment. Finally, there are manufacturers that use cross linkers to tie-up the ink film so that the dye cannot pass through. All of these adaptations tend

Inks

Testing For Migration

Migration is the permeation of the dyes through the plasticizer due to the compatibility of the ink, dye and garment. Plasticizers are literally used as carriers for dyes in many cases also plasticizers invade the (polyester) yarn structure and while it was once relatively thermo set, it now becomes thermo plastic and flows under the application of heat. The flowing causes it to release the dyes into the inviting plasticizer of the ink. Unlike sublimation, which is assumed to come from the garment below the ink, triggered during the cure cycle, migration can emanate from above or below the ink film. Consider that the manufacturer uses bleaches that decompose with heat. Your garment looks snow white for a while and then begins to bleed. There is more than a fair chance that the fibers on the top of the ink film have been plasticized by the ink and released their dyes into it. After all there are no bleaches left over to neutralize the dye color. Use a snow-white business card and punch a hole in it. Compare this whiteness to that of the ink film immediately after it is printed. Then keep a continued eye on the ink for any change. The comparison to the card will allow you to detect the least change. As soon as you see a shift toward the garment color, cut a slice in the test sample and use a 10X loupe to observe if the dye stemmed from the top or bottom of the print. If it is from below you may not be totally fused, recheck your settings. If the other extreme occurred-over fusion, the bleach dies off and allows the liquefied dyes to enter the plastisol, and bleeding occurs. Be sure that if you are flashing then you check the dryer exit temperature with a heat gun before entrance. If the top of the ink film is stained with dye and the internal segments are virgin, then your goods bled from the top down. Your ink problem may be mat down. You can select ink / mesh / blade combination that mats the fibers better. Or you can print flash print, your choice.

How To Instructions

PAGE 3 . 11

to make ink that is more difficult to print and cure. Also they are traditionally more finicky and exhibit less shelf stability. It is best to use bleed resistant ink only when printing garments that contain synthetics such as polyester. The specific white that we selected has some inherent bleed resistance but is not recommended for polyester printing.
xy Chromaticity Coordinates

Chapter 3

The xy-chromaticity coordinates indicate the position on the color locus and gauge its hue as well as saturation. This model is most often used for process colors but if you intend to use a white for underbasing process colors, you will want to know its relative position from this model. For example if the white is excessively cast to the blue side, it will drag every overprint color to the blue side, which may be a consideration in your separation.

Figure 3.8 The Chromaticity Diagram is the classical 1931 color locus. It is a plot of the hue and saturation components of a color and was used for relative comparison of closely related colors. The x and y axes are used to plot color. It has been updated to a more intuitive 1976 version where the distance between colors more closely approximates their differences. Compliments of Photo Research. PAGE 3 . 12

Inks
Rheological The rheological properties of plastisol ink indicate how much force you need to apply to get the ink moving, how the product will flow through the mesh once it is moving and if and when it will stop flowing when printed on the garment or on top of another ink.
Relative Viscosity H-Cote 9000 Rheological Specifications Plastic Shortness Thix Tack Viscosity Ratio Index Percent (D/cm) (cPs) Yield Stress

(cPs)

Severs (cPs)

1,120,000

180,000

480,000

2.67

5.9

20

3059

Figure 3.9 This table lists the rheological properties of the H-Cote 9000 white ink. The relative viscosity is high, measuring 1,120,000 cPs, which gives it a bodied consistency. The yield stress is low,measuring 180,000 dynes/cm, so the ink begins to flow with little effort. The plastic viscosity measures near the midpoint, 480,000 cps, making it thin enough to flow through the mesh, but able to recover its body quickly. The shortness ratio is also near the midpoint at 2.67, while the thixotropic index is 5.9. The shortness ratio and thixotropic index here, describes a bodied ink that thins readily and yet holds its shape under shear. The tack level is 20 percent, which is very low, and the Severs test indicated excellent fluidity at 100 psi.

Unfortunately, the standard viscosity instruments are not particularly informative when it comes to on press performance. The equipment used for the readings below included several types of laboratory instruments. If you are looking into a low cost viscometer for in house QC efforts with plastisol inks, you may find that only extreme differences are measurable. We recommend that you rely on data from the manufacturers and subsequent press performance.
Relative Viscosity

A viscometer measures the resistance to flow of the ink and is used to establish thix index. It runs at one of very slow speeds between two and 20 rpm (revolutions per minute). The spindle-type viscometer senses the resistance of the spindle as it turns in the cup of ink thicker ink means more resistance. The measure of viscosity is centipoise (cps) and that is the scale that the resistance is converted to. Relative viscosity is measured at a low rpm and accordingly has a higher resistance and consequently a higher viscosity. Preferably the relative viscosity (low shear stress viscosity) is high. Ink with a low relative viscosity would tend to pour from the container and not hold the image once it is printed-however there is no assurance that it would flow through the screen mesh properly.

PAGE 3 . 13

Quick Test To Check Ink Flow Properties

The in plant testing of plastisol performance is difficult because even the standard viscometers used by most of the manufacturers are not particularly representative of the performance of the ink on press. There is a simple and informative method of ink testing that you should incorporate into your daily schedule. Do not mix the ink before you begin the test. At one edge of the top of the ink pail, push a stainless steel spatula into the ink about two inches in depth. Now cut a channel into the ink, two inches deep, the width of the spatula across the diameter of the pail and observe the spatula as it crosses the pail. If the spatula bends severely, the relative viscosity and yield stress are too high and you will need excessive force to transfer the ink through any screen mesh. If the channel flows together immediately, the ink will transfer sufficiently, but it will not hold its position on the garment. It will perform poorly when printed on an underbase. If the ink remains in the shape of the channel for a time, the results will not be as bad, but caution should be applied. The best ink will cut the channel easily and never allow it to fall or lose its shape. The test is subjective meaning that the results are not transferable from one person to the next. But the impression gained about the performance of the ink for each individual is priceless.

Yield Stress

Chapter 3

Yield stress indicates the amount of force required to get the ink to flow. It is not an indicator of viscosity, rather a device

Figure3.10 This is a macro view of the Rockport logo is a high-density Tshirt. The relative viscosity of high-density inks is extreme, due to its high resin and filler loading. If you are using high-density inks, we recommend the Turnabout H.D. for complete low shear mixing. Printed garment compliments of Liberty Screen Print.

Figure 3.11 This is a micro version of the Rockport T-shirt accentting the terraced relief structure of the garment. The ink is less fluid than the standard plastisol and maintains its shape quite well after it is printed. Garment compliments of Liberty Screen Print.

response to initial resting viscosity. Since you want the ink to have initial body but become fluid immediately with a gentle push of the blade, you want a low-yield stress. Low yield stress

PAGE 3 . 14

ink allows a minimal squeegee angle, speed and pressure to cause the ink to flow. If the yield stress is high, it will require too much warm-up time getting the ink to flow and this indicates you will have a color shift over the first few dozens prints. Yield stress is a factor in the calculation of the shortness-ratio index.
Plastic Viscosity

Inks

Plastic viscosity is the fluid property of the ink at its thinnest point. This is where the spindle type viscometers fall shortest of an accurate number. Ideally you want the ink to be at its plastic viscosity and the plastic viscosity must be low enough to allow the ink to transfer through the screen mesh. If the plastic viscosity is too high you will be forced to run very high squeegee pressure and a very low angle just to get the ink to clear the mesh. This will be
Ink Shortness Ratio Scenarios Ink Characteristics
1Low force, 2high flow

Ink Manufacturers Problem

Effect (one or multiple)

Short-Term Solution

Excessively High Shortness Ratio

(half-tone extender) 3High force, 4high flow (fluorescents)

Appears that the ink should transfer, but does not. Deposit changes as ink warms up. Ink wont hold image. Transfers mesh easily. Ink wont hold image. Trouble transferring ink.

Use larger mesh opening. Warm-up ink on Turnabout, before print run. Use thinner mesh. Use higher mesh count. 5Lower shear rate. 6Higher shear rate, add reducer.

Inadequately Low force, low Low Shortness flow (violet) Ratio High force, low flow (aged-up white)

1Low force is technically low yield stress, meaning it requires little effort to get the ink moving. 2High flow is technically, low viscosity, meaning the ink is thin. 3High force is technically high yield stress, meaning it requires more effort to get the ink moving. 4Low flow is technically high viscosity, meaning the ink is thick. 5Higher shear rate demands more squeegee pressure and lowering the blade angle. 6Lower shear rate permits less squeegee pressure and raising the blade angle.
Figure 3.12 Use the table to verify ink problems. It offers short-term solutions, but more importantly, it gives you the accurate launguage to the discuss the problem with your ink manufacturer. If you tolerate the type of problems listed above, it will eventually affect your bottom line. Work with you ink manufacturer to solve the problem or find an ink that doesnt exhibit these problems. PAGE 3 . 15

Chapter 3
How To Instructions

Matting Down Surface Fibers

To mat-down the surface of a T-shirt, you need to follow these steps. 1. Select ink with a low-yield stress. 2. Select ink with a very high-relative viscosity. 3. Select ink with a moderate plastic viscosity. 4. Use a thin, flat screen mesh with a large opening. 5. Set tension to the required off-contact distance (refer to page 4.4). 6. Use an 80-durometer blade with a sharp edge. 7. Set speed and angle for zero-mesh-lag and image stretch.

particularly evident in the center of the screen where the blade contact pressure is at its lowest.

If the plastic viscosity is too low, as the squeegee injects the ink into the mesh it wants to splatter onto the substrate. Such a flaw will be particularly noticeable when printing on an underbase. Ink with a proper plastic viscosity transfers the mesh cleanly at high speed and still holds the shape of the image.
Shortness Ratio

The shortness ratio is an index that can offer insight into the way that screen-printing inks will perform on press. It is a ratio of the inks initial resistance to flow, and its final resistance to flow. Based on empirical evidence, the shortness range for screen-printing inks should be between 1.5 and 3.5. A higher ratio would characterize inks that were not shear-thinning and a lower ratio would profile inks that would not recover their body after the ink had transferred. Either of these scenarios would not be conducive to quality or high-speed printing. There are four possible extreme, ink-shortness scenarios. Please review the table shown in figure 3.12 (previous page). This aspect of the inks performance is a delicate balance of force to cause the ink to flow and its viscosity once it is flowing. To control shortness, the ink maker must accurately control or anticipate aging.
Thixotropic Index (Thix)

Thix index is a numeric scale that allows the ink formulator (or the printer) to determine general tendency of the ink to be shear thinning. The operator will run the ink at two different rpms on a spindle viscometer, a low rpm and one that is 10 times as high. For example, two and 20 rpm measurements are taken and the low rpm reading is divided by the high rpm reading. If it were 1,000,000 cps (centipose) at two rpm (revolutions per minute) and 200,000 cps at 20 rpm,
PAGE 3 . 16

you would divide the two to find the thix index.

1,000,000 / 200,000 = 5 as the thix index.

Inks

End Caps
These accessories fit on the ends of your squeegee blade and keep the ink from spewing out from around the ends of the blade. Of course they are very convenient on press, they allow you to run longer without adding ink and will save you the embarrassment of poking an ink knife through a screen during a production run. One ripped screen more than pays for End Caps for the entire press (refer to figure 3.13 for details). Here is the less apparent value: they allow you to compact the ink and take advantage of the fact that in mass, the ink will not react as fast to heat. These attachments allow you to put more ink between the blades and the ink viscosity will be more stable. If you do a lot of flash curing these will help keep the print colors consistent and reduce the need to stop and clean up or change inks. End Caps work at any tension level, on any M&R holder with any blade at any angle or pressure. Simply wash them off when you need to change colors.

The two-rpm reading (low-rpm reading) indicates how the ink will lay on top of the shirt. The 20-rpm reading (high-rpm reading) indicates how it will transfer through the screen. The thix index of five indicates the degree to which the product is shear thinning (stir it and it gets thin). Generally, you will want the highest thix index that the manufacturer can build. The typical range of plastisol inks is from a low of three to a high of 12. If the thix index is too low it indicates one of two extreme possibilities, a runny ink that flows too fast and wont hold an image or print on an underbase. Or it is tar-like, stiff in the container and wont transfer well through the mesh. If the thix index is too high the ink may appear fluffy but con-

Figure 3.13 The end caps shown here, compact the ink and by keeping a more dense area of ink, reduce the impact of thermal-viscosity drop. If you are flashing, try using end caps to prevent the inks low viscosity from plummeting and prevent premature gelation. PAGE 3 . 17

Af t er-Flash Tac k
After-flash tack is an ink and flash issue, but there are other facets of the process that you can pursue to improve the condition. Unfortunately a flat-coated screen or capillary film is the worst possible surface, however we strongly suggest that you look elsewhere for answers and make the best stencil possible. If you are running high strength twill-woven mesh, you are creating more problems than you need for two reasons. First, twill mesh has the highest surface area so more mesh is in contact with the hot ink at any one time. Second, it has a smaller opening so it forces you to use a greater blade-contact area to transfer the ink. Review the press calibration and flash settings sections of this book and then use a plain-woven screen mesh with a large opening. Yes, continue to make a flat stencil. Use a rigid blade, with a sharp edge, set at the most vertical angle possible. If this is not enough, M&R offers the Animister to cool the ink prior to the next screen and eliminates the need for a cooling station.

vert from thick to thin and back, too fast to transfer through the mesh.
Tack Percent

Chapter 3

There are a variety of methods for the analysis of tack, which may be the most important single variable of all. In all printing and imaging processes tack is necessary so that the ink will hold to itself at various times dictated by the process. The formulator knows this property by the name visco-elasticity and can typically measure it with a sophisticated viscometer. Generally the lower the tack level, the faster you can print and the higher the quality. If the tack is too low the liquid and solid phases of the ink will separate and build-up-mottling and wicking will result. If the tack level is too high (and this is most often the case of high solids dispersions such as plastisols)-the ink is difficult to transfer at low shear rates. (The shear rate of the screen-printing process includes the blade contact area, flexure and speed. A low blade angle with a low contact area and high speed is the highest shear rate). Most of the time excessively high tack plastisols are a result of aging after the product is made. The best analogy is honeychill it and it becomes high viscosity and high tack,-warm it and it becomes low viscosity but remains high tack. Thinning the ink tends to drop the viscosity, but leave the tack level as it was (refer to page 3.28 for details on ink tack).
Severs Viscosity

Severs is a capillary-tube viscometer with a specific orifice on one end and air pressure on the other. When the tube is filled with ink, the application of air pressure forces the ink through the orifice at the other end of the tube. Viscosity is measured by the time that it takes a given quantity of ink to flow through the orifice, specific to the pressure applied. This test method draws a high correlation between the lab and the transfer of ink through a printing screen. If the viscosity is too high, the ink will not transfer well at all. If the viscosity is too low, there is a likelihood of phase separation, which would result in build-up, mottling and wicking.

PAGE 3 . 18

Inks
Thermal The thermal properties of plastisol inks have a serious impact on the optical and rheological aspects. Generally as the ink is warmed, the plasticizer thins and eventually begins to solvate or fluxes the resin. Each of the significant plateaus of thermal change is listed below for your evaluation. By understanding this time temperature relationship you can use these properties to your advantage.
H-Cote 9000 Thermal Specifications Peak Gel Fusion Re-melt Wavelength Low Viscosity Hot-Tack Index

40,000 cPs

150 F

300 F

375 F

2.3m

Figure 3.14 This table lists the thermal properties of the H-Cote 9000 white ink. Low viscosity indicates the ink, as do all plastisols, thins when they are warmed. The degree of thinning is well within acceptable margins. Gel point is a typical 150, fusion (cure) at 300 and remelt at 375. It has a low gelation point and sufficient distance between fusion and remelt to be very user friendly. Its peak absorption wavelength is 2.3m, with a hot tack index of 3, on a one to five scale. The hot tack is higher due to the smoothness of the print.

Low Viscosity

Low viscosity is the first phase that the ink passes through, due to temperature elevations. At temperatures below gel, but above room temperature, the plastisol becomes very thin. This phase occurs in plastisols around 110 to 130. The point at which it occurs is less significant, than the viscosity the increase in temperature produces. If there is a severe viscosity drop, you can be certain you will have printing problems. These would be most apparent with dark-blue ink printing on a white underbase. It is also this factor that causes a color shift during various stages of production. As the ink warms it fills the mesh cavity to a different level. There can be a very noticeable color shift, particularly with transparent colors. The high limit for this low point would imply that the viscosity of the ink was unaffected by heat-but this is never the case.
Gel Point

The gel point of the ink is reached when the ink is no longer fluid at operating temperatures. On press this is an indicator of how flash efficient the ink will be, so in general, a lower number is better. In the real-world the ink is subjected to infrared energy-the panel or tube temperature will be significantly higher and the exposure much shorter than our test data. If the gel point is too low, shelf stability is an issue; the ink will probably not ship
PAGE 3 . 19

Chapter 3
How To Instructions

Eliminating Gel In The Screen

Stop Gelling In The Screen by following these step:. 1. Calibrate the press and flash units. 2. Do not double stroke. 3. Run as-fast-as possible at all times. 4. Minimize the flash temperature. 5. Do not use flash additive. 6. Add curable reducer. 7. Add plasticizer, only as a last resort.

or store well at all. If the gel point is too high, you will have a difficult time running at high speeds due to a longer flash time or higher flash temperature.
Fusion

The fusion or cure temperature is the point at which the performance properties of the ink have reached their maximum higher temperature and longer retention time will not improve the performance of the ink. Elasticity, abrasion resistance, light and color fastness are at an optimum. For standard plastisols this occurs if and when the entire ink film reaches 300 to 320. The variables that effect curing plastisol ink are extensive; garment entrance temperature, ink fusion temperature, ink deposit thickness, garment fabric mass, garment specific heat, dryer temperature, and dryer retention time. Thats a whole lot to control, but the results will be worth the effort. Infrared dryers have more variables, including the wavelength and distance from the garment to the panel or tube. The emissivity of the ink and the garment is a factor.

Figure3.15 The photo shows an incremental gap in the squeegee and floodbar. If your screen length and stroke adjust permit, you can invert the floodbar and increase the spacing between the squeegee and floodbar. For high tack-level inks, coarse meshes or long runs with a high coverage area, this is a very helpful technique. The adaptation is very simple on the Challenger II. PAGE 3 . 20

Cure or fusion is a time-temperature balance, which means that you can make up for a shortage in one with an abundance of the other. If the time is long enough, the temperature can be lower. The 300 listed in table 3.14 is not nominal, but it is a real world number that can typically be achieved with industry equipment. Plastisol inks fuse from 200 to 2000 but the former would require an impractically long dryer retention and the latter would prove to be dangerous. Flash curing is a preheating station for some of the garment and some of the ink. If you flash cure, the part of the garment under the flash gets hotter. The ink printed on the shirt prior to the flash becomes hotter when flashed and remains hotter than those colors printed on top of the flashed inks. They may be closer to room temperature. The flash can ensure that the ink is totally cured, but relying upon it to do so, is risky business. For example, the first time you stop and dont put the shirt into the dryer immediately after flashing, it cools, and its dryer exit temperature is lower than the balance of the shirts. A consideration at the other extreme is the flash can superheat the ink and lead to bleeding, sublimation and shrinkage. For information on how to evaluate fusion refer to page 3.20 for details.
Remelt

Inks

Fusion Tips
There is no need to sustain the fusion temperature once the ink has reached it, but there are issues that need to be recognized. The garment will act as a heat-sink, specifically in the case of fleece. The fabric mass of a T-shirt is often less than 25 percent but a sweatshirt is often over 75 percentmore of it is fabric and less is airspace. Before the entire ink film can be brought to cure temperature, the garment temperature must be sufficiently high, so that equilibrium is reached. In practice, this means that the ink on a sweatshirt will generally exit the dryer at a lower temperature than a T-shirt under the same conditions. You will want to doublecheck the sweats for cure, particularly if they are run at T-shirt settings. High humidity has an affect on the curing level of the ink; due to the fact the garment holds moisture. The moisture regain of cotton is 35 percent and that moisture must be dealt with before the ink will cure. In high humidity environments you may want to double-check the cure of the ink. Some synthetics will take more energy than others. This is based on the specific heat of the composition of the garment. The specific heat is an indicator of the rate of increase in temperature. For example, a nylon garment of the same construction as a polyester garment will take more time or temperature to elevate it to a given temperature point.

Remelt is the level beyond fusion or cure, when the resin begins to soften and flow independent of the influence of the plasticizer. It is this property that prevents ironing plastisols, as well as makes heat transfers a viable product. The remelt point of the ink should be the maximum possible for direct-print plastisols, so this threshold is not crossed in production. Should this happen the inks may become very thin, you risk both dye bleeding from sublimation and migration,and hot tack at this stage can weld the inks together at the end of the dryer.
Hot Tack

Hot tack is known in our industry as after-flash tack. It is determined by the combination and type of resin, plasticizer and fillers. It is a form of temporary adhesion known as diffu-

PAGE 3 . 21

sion bonding. To make ink that has very high hot tack, one would start with a soft (co-polymer) resin and add an equal amount of high-solvating plasticizer (over 50 percent). The hand would be very soft and the ink would level and penetrate as soon as it was heated. Inks similar to this, used on highly elastic materials such as Spandex, would have a rating of five on the hot-tack index. Most pigments and fillers are inert and are unaffected by the gelation or cure of the ink. As pigments and fillers will appear on the surface of the ink, they act to reduce the hot tack, but are not as influential on the hot tack as the plasticizer/resin ratio. Note that a smoother surface is more prone to after flash tack, but produces higher quality prints.
Room Temperature 72 Greater than 72 110 125 150 175 250 Total Ink Film Reaches 300 350

Chapter 3

Ink remains as it appeared in the container. Ink drops in viscosity as on a Turnabout mixer. Ink reaches its low viscosity point. Plasticizer becomes aggressive, fluxes resin surface. Resin gels, plastisol becomes dry and immobile. Fluxing continues at a slower rate. Dye sublimation begins. Fluxing complete, optimal ink properties achieved. Resin softens and ink re-melts.

Figure 3.16 The details listed in the table above are generic; they do not necessarily describe a particular ink brand or series. These properties are offered as a "thermal timeline" of events as the plastisol is exposed to heat.

Physical There are dimensions of plastisol inks that do not fall into optical, rheological or thermal. These are categorized as physical properties and include; the size of the particles of ink, its reaction to infrared energy, its ability to wet a surface and to be wet once it is gelled. Included is the percentage of plasticizer because lower is better and the hardness of the cured ink film. All of these play a critical role in the aesthetics and performance of the ink and are listed below.
Grind

The grind of plastisol ink is a measurement of how fine the agglomerates (collections of particles) have been reduced in size. Although the test method does not gauge viscosity, the relative viscosity of the ink nonetheless, influences the test. The standard grind gauge runs from zero to eight with eight being the finest grind. This fineness index can be converted to a nominal agglomerate size. Each whole number is approximately equal to a 12m increase in diameter. For example, a grind of four equals a 51m diameter, while a five equals a 38m diameter. If this
PAGE 3 . 22

dont seem like much of a disparity, consider that the 38m particle has a surface area of 4536m and the 51m particle has a surface area of 8171m-and these are only one number apart on the grind gauge. Grind is a reasonable predictor how easily the ink particles will transfer through the mesh. Of course the particle shape, weight, size and pigment loading are significant factors that affect ink transfer, but a coarse grind will make matters worse. If the grind is poor, the plasticizer continues to migrate into the agglomeratesthe ink gets very tacky and thick. Once this happens nothing known to man will reverse the process. Poor grind is the primary cause of thick, tacky inks; build-up; mottling and after-flash tack.
Emissivity

Inks

Ink Grind
A pharmacist uses a mortar and pestal to breakup clumps of dry, powder particles and make a more homogenous prescription. The ink manufacturer has to achieve this grind twice with your plastisol ink before it is finished. There are grind parameters for the pigment dispersion stage, and also for the finished ink. Though the two approaches differ radically, the goal for each is the samereduce the size of the clumped particles. A generic description of pigment dispersions follows. The pigment and plasticizer are premixed into a slurry or paste on a high-speed dissolver mixer. Surfactants and fillers are added at this time. This "premix" is not finely ground and must be put over a milling machine. There are sand mills; ball mills, colloid mills and three roll mills to name a few. The choice of mill is based on the needs of the pigment and its abrasiveness. Whites for example are so hard they will nearly destroy a three-roll mill and the shear thickening nature of the dispersion makes it unsuited for some mills. The premix is taken to the mill and under specific time, pressure, velocity and clearance the clumps of the pigments are broken down. What is left is a smooth paste that requires less addition of dispersion to develop color. This efficiency has several advantages; lower raw material cost ink, series with print properties that are more similar and colors that are cleaner, brighter and more intense.

Emissivity is ratios of an objects tendency to reflect versus absorb energy. This is a real-world factor if you are using a non-contact, infrared pyrometer. These heat guns should ideally be calibrated to the emissivity of the surface they are about to measure. Emissivity is affected by the texture, gloss and color of the product, as well as its chemical make-up. Emissivity also changes over a range of temperatures. For example, black ink, at gel, will have an emissivity ratio around 0.70, while whites, at fusion temperatures, are around 0.95. Most of the default settings are 0.95 and there is no problem unless you are looking for absolute readings.
SpG (specific gravity)

Specific gravity of ink is the ratio of ink weight to an equivalent volume of control water. This data allows the manufacturer to easily determine the weight of any volume container. Because white pigment (TiO) is small and spherical, it packs well so the density and specific gravity of whites are very high, making white pigment heavy. A 1.49 ratio would mean that the ink weighs nearly one-and-a-half times the same volume of water. It is advantageous to have white ink with a high weight to ensure two things: there are no air pockets and there is a relatively high volume of pigment in the ink.

PAGE 3 . 23

Constructing Plastisol
There are two major components in plastisol ink; resin and plasticizer. The resin is a powdered, dispersion-grade polyvinyl chloride and the plasticizers are liquids, specifically high boiling esters. When the two are combined they react in a particular manner, which is described below: 1. The resin and plastisizer are blended. 2. The plasticizer solvates the surface of the resin. 3. The plasticizer is now diluted with solvated resin. 4. The diluted plasticizer cannot continue to solvate. 5. Equilibrium is reached and maintained if: a. the plastisol is not exposed to heat. b. the fillers do not continue absorb plasticizer. c. there are no resin cavities for the plasticizer to migrate into. 6. If equilibrium is not achieved, tack increases due to aging.

Surface Tension

Chapter 3

The surface tension of the ink is its ability to wet-out a surface. At times this has little relevance-but at other times it is critically important. When the plastisol is printed directly onto the garment, wetting is a non-issue. The adhesion is mechanical and the substrate is absorbent so the ink cant creep across the surface. But when the ink is printed on an underbase or over another color, all rules change. The compatibility of the two inks is gauged by the surface tension (liquid) of the liquid ink and the critical surface tension (solid) of the flashed underbase ink. Lower-surface-tension inks wet our more surfaces better and faster than inks with higher surface tensions. In fact, if the liquid has a higher surface tension than the gelled or fused ink, the two are incompatible, image stability and adhesion can be at risk. And if youre printing a process job, color balance just flew out the window. The surface tension of the ink is dictated initially by the surface tension of the plasticizer, but this can be altered with additives. The lower the number the better. Typical however, additives used to reduce surface tension tend to reduce critical surface tension as well. The ink maker must be wise in his choice or the result will be ink that wets-out a gelled surface better, but is more difficult to wet once it is gelled (see sidebar on page 3.32 for more information on surface tension).
CST (critical surface tension)

Critical surfacetTension is a measurement of the tendency of the gelled or fused ink surface to be wet-out. The best example is the slick surface of Teflon that nothing sticks to. Teflon has a very low surface energy, around 13 dynes per centimeter, and most liquids like eggs have a surface tension higher than 13, so they cant wet the surface. When they evaporate they stick to them selves, but not to the skillet, so they fall right off. Youve probably seen the results of incompatible surface tensions, when the ink does not want to stick to the underbase. There is a balance that can be disturbed if the underbase is

PAGE 3 . 24

taken over its gel point and too close to cure. As the ink is heated the critical surface tension decreases to a point beyond fusion. Eventually, it will begin to increase with sustained or incremental temperatures. The range of critical surface tension in white plastisols is from 30 to 44. The higher number allows overprint inks to trap (stick) easily and the lower number is very resistant and difficult to print on. (Refer to page ___ for details on surface tension).
Percent Plasticizer

Inks

Base vs. Clear

These vary from manufacturer to manufacturer and there is little consistency. The only common denominator is they dont contain pigment. There are three terms that give you an indicator of the performance of the transparent ink; unfinished ink, finished ink and ink modifier. There are unfinished inks that are intentionally short of their plasticizer balance and are to be used in conjunction with pigment dispersions for color matching convenience. Be cautious, as these are very often unstable and ageupfaster due to the reduced amount of plasticizer. Once ink has aged, there is no turning back. There are finished inks that will not accommodate color concentrates, but can be used to overprint an image for durability or gloss control. Some finished inks are intended to mat-down garment fibers and serve well as transparent underbases. Another course of action is to add these, in virtually any amounts, to an existing color to increase its transparency. Of course the properties of the color are compromised by the properties of the additive. Finally the ink modifiers, which are marketed under a variety of names, but usually intended to solve a specific problem. These include hand modifiers, which at the cost of opacity, improve penetration and increase drape. Some of these are highly plasticized (refer to page 3.25 for details), so be cautious. There are also modifiers that are recommended for process-color printing to control the balance of the four colors. PAGE 3 . 25

This is one of the most critical aspects of the plastisol ink, and its excess is triggered by a poor grind. Far too often the manufacturer does a poor job of blending the ingredients in the ink, and knowing before hand that the ink will age-up in viscosity, he adds plasticizer to retard the aging and reduce the final viscosity. The ink ages (or thickens), then it meets the standards set with viscometers, but viscometers dont inform us how the ink will perform on press. The lowest practical percentage of plastisizer is 35 percent and the goal of the manufacturer. More plasticizer creates a multitude of problems. It retards the gel rate, creates after-flash tack, reduces the critical surface tension, increases the chance of dye migration, sacrifices opacity, promotes build-up, raises the fusion temperature and makes ink that is low viscosity, but high tack. Like warm honey-and it still wont print well.
Shore A

The hardness of the ink is an indicator of the drape and flexibility of the printed material. It is established on a Shore-A scale for elastomers, and a higher number indicates a harder product; less likely to drape. This property is dictated in part by the type and percentage of resin in the ink. More resin makes for a harder product, while some types of resins are harder than others. Hardness is indirectly proportional to the quantity of plasticizer in the system. More plasticizer means softer ink. The hardness is checked against a totally fused thick-film (at least 1/8 inch thick) deposit. Employ the same meter used to check the durometer of squeegee blades. It operates similarly

Flash A dditiv e
If you are having problems with flash times and after-flash tack, you have an ink problem and should find ink that is suited for flash-curing applications. Meanwhile the fix is to add blending resin, which is known to our industry as flash additive. As is the case before you add anything to the plastisol, it should be stirred thoroughly-not a quick spin with a spatula. It is wise to use a Turnabout Mixer allowing the low-shear to gently reduce the viscosity of the ink in a minute of stirring, without generating excess heat, typical of high speed mixers. Volume mixing (quart, gallon, etc. measurements) is a very risky business, so we recommend that the resin be added by weight. Use a scale that measures to a tenthof-a-gram for quarts, to one-gram for gallons and to five-grams for five-gallon pails. High viscosity and subsequently high tack will be your limiting factors, but begin at a quarter-percent of resin, by weight, to the ink. Add it slowly, as the Turnabout continues at slow speed. The additive will partially combine with the plasticizer in the ink, so if you must add, do so in advance of the press run. After all if you have had problems before, you can expect to have them again. So mix the additive a minimum of 24 hours, but ideally 72 hours, before the press run. This allows the ink to reach equilibrium and you will find fewer additives will do the job. If you over shoot the mix, the best advice is to dispose of it PAGE 3 . 26

to a tension meter, except it has a pin on the bottom of the meter, rather than a foot. Hold the meter with the pin facing the printed sample; firmly press the pin into the fused ink. The meter will register the hardness. This number should be evaluated along with the fused deposit thickness you normally print for drape and hand acceptability. For example, the first ink has a hardness of 50, but must be printed at a five-mil deposit to

Chapter 3

Figure 3.18 This HiRes AccuColor print has an extremely soft hand due to the inks used for the underbase and the fact that they were printed at less than one mil deposit. Red Hot Mama, image rights liscensed by Blue Chicago and T-shirt printed by Target Graphics Ltd. 1995 John Carrol Doyle.

be opaque. A second type of ink, of the same hardness, prints at three-mils and matches the opacity of the first ink -the thinner deposit will have a better hand.

Troubleshooting Ink
If you have read the preceding pages on the nature of the plastisol inks, it will help you identify ink problems, and other related issues, when a problem occurs. This section demonstrates how to put your newly gained knowledge to work by dividing ink troubleshooting into four categories. These categories are the most common issues associated with plastisol performance; ink tack, build-up, ink adhesion and surface energy, test for fusion, test for temperature, ink mileage. Tack Screen printing is unusual when it comes to ink tack. Most other ink transfer processes need, and even flaunt, the tackiness of the ink. But we have a hydraulic pumping system that transfers ink; high tack level is a problem. It is more difficult to transfer higher tack level ink- such ink requires a higher shear rate. Shear (rate) is the force applied to the ink on the surface of the screen-it is intended to cause the ink to become thinner. At this state of lower viscosity, the ink should be easy to pump through the mesh openings. Shear (rate) increases in direct proportion to the following: 1. Higher off-contact or peel. 2. Higher mesh tension. 3. Lower squeegee angle. 4. Higher squeegee speed. The higher the shear rate, the thinner the ink becomes over a relevant range. Plastisols and virtually all printing inks need to be shear thinning. That is, as a shearing force is applied (like the squeegee or the Turnabout Mixer) the ink drops in viscosity. To cause this shear-thinning drop, with high tack ink, requires excessively high shear rate and a mesh with an excessively high flow rate. In the vernacular we say, Use the coarsest mesh you

Inks

Flash A dditiv e (continued)

properly. Do not try to reduce the ink and run it on press. Its performance will be the worst possible and downtime is the enemy of profits-dont risk it. Adding this flash additive resin will alter all of the properties of the ink on press and on the printed image. On press the grind (Refer to sidebar page 23) will not be as high and the mesh can act as a strainer by filtering out particle clumps. Be particularly cautious if you are on a mesh with a small opening, either higher count or thicker threads. If this is a problem you will find that it gets worse as the run continues. Temporarily you may need to run a lower blade angle and a higher squeegee speed. Flash additive may worsen buildup as it raises the tack level of the ink. Your response to this will necessarily be more force and if so you may see perimeter build up. If the ink tends to build up in the central areas, the addition of flash additive will not adversely affect this and may slow it down. But our best advice here is to get ink that works, don't get caught up in ink repair. Flash additive will reduce the gloss level of the ink and stiffen the hand or drape of the printed film. It is not a solution for dye bleeding but will not encourage bleeding. All things considered, flash additive is a temporary fix so that you can stay in production by compensating for ink deficiencies. Asking more from the product is unwise. PAGE 3 . 27

Whit e Hang-up
There is by far, more white ink used by the textile printer than any other color of plastisol screen ink. It is very unfortunate for screen printing, which is a pumping process, that white ink is absolutely the most difficult color ink to pump. And at times the ink seems more difficult than others, for example, in the middle of a press run. Unless you are new at the game, you have seen where all is well, and all of the sudden the white starts hanging up in the screen. Well its occurrence was probably not sudden at all, only its appearance was sudden. It was probably the long-term result of one of the following factors. 1. Screen tension loss from fatigue. 2. Gelation in the screen from heat. 3. Dilatency (shear thickening). Number one occurs frequently. If you need to retention after every press run, it may well be your problem. Review the sections in this book on press calibration, off-contact set tings and squeegee pressures. The warning signs will be registration problems, smearing and image stretch. If you stop the press, wait and then start it again, the condition will be the same. Number two is unavoidable if, and when, your heat gets out of control. Review sections on flash curing and plastisols. The warning signs will be; as the ink warms-up the deposit changes, and you per-

can find and crank down on the squeegee, hardly good advice for quality printing. However, high-tack inks are prevalent in our industry (refer to the how-to on page 3.30 for details).
Tack versus Viscosity

Chapter 3

Do not confuse tack with viscosity. The best analogy is Cool Whip desert topping and honey. Cool Whip is high viscosity and low tack. Honey is low viscosity and high tack. The best printing inks are more like Cool Whip and less like honey. With honey, no amount of shear will successfully transfer it through the screen and such excessive shear will cause a lot of problems on its own: 1. Premature stencil breakdown. 2. Premature tension loss. 3. Premature mesh ripping. 4. Oversized image distortion. 5. Perimeter ink build-up. 6. Smearing and blurring. It is always best to cure the illness and not only the symptoms.
Figure 3.19 The Turnabout is available in three configurations for every budget and viscosity of ink. Each Turnabout comes with a single and five-gallon blade that are very easy to clean. The DC version allows you to mix slowly, so there is no heat generation. Once the ink begins to flow, you can speed it up for a quick and thorough mix. All Turnabout mixers clean the bottom and sides of the pail automatically. They are ideal for mixing colors or for stirring thick white ink, so that it flows properly on the very first shirt.

PAGE 3 . 28

If the tack in the ink you are currently using is too high, talk to your supplier. Some printers will resort to modifiers to reduce the appearance of tack-but there is no way to eliminating tack in plastisol, which means a compromise in the performance of the modified ink is inevitable.
Cause of Ink Tack

Inks

Whit e Hang-Up (continued)

ceive a lower gloss level. If you stop the press for a while, and start again, this one goes away. Number three is subtle and may be missed if you are not observant-there are no warning signs. Dilatent fluids resist flow and whites are very dilatent. The percentage of pigment is high between 17 and 27 percent is typical. Further it is very small, spherical in shape, and very heavy. Just like a set of billiard balls on the pool table, white pigments tend to settle, collect and push up against each other. White ink acts the same way, but in three dimensions, and when the ink gets warm, the particles can begin to settle. Run the squeegee blade at the highest angle possible and use a moderate speed. Keep your operating temperatures in control; use a thinner mesh with a larger opening, and a faster flood stroke. If you stop and start again this symptom will disappear.

The primary cause of ink tack is in the manufacturing stages, in the selection of raw materials and their assembly. No one builds ink that is difficult to printit becomes that way in time and aging is an indication of poor manufacturing. The test for tack is varied and unfortunately not often used by the ink manufacturers. One test that is universally used and a general gauge of high tack is the grind of the ink. The grind of the ink is a measure of how well all of the particle agglomerates are reduced in size and distributed in the liquid vehicle (plasticizer) of the ink. A poor grind would leave the resin agglomerates (particle collections) too large and over time (72 hours plus) the plasticizer would migrate into these clumps of resin and change everything. When the ink was first made, it may have been creamy because the plasticizer acts as an ink system lubricant allowing the particles and clumps to pass by each other, with minimal friction. If this (plasticizer) lubricant is absorbed into the clumps, and the ink is put under a shear, the friction will be very high we call it excessive ink tack. Conversely if ink is finely ground, the amount of plasticizer needed is minimal and the ink achieves a system equilibrium it doesnt get thicker or thinner. Initially when the resin is mixed with the plasticizer, the surface of the resin is attacked and becomes a part of the plasticizer. Now the plasticizer has changed it is thicker and less aggressive to the resin. The goal is for it to reach equilibrium- so at room, shipping, and storage temperatures, the plasticizer stays where you put it. If the goal is achieved, there is no aging after the initial wetting period of 72 hours. Such an ink mixture will require less plasticizer-that is good news, because excess plasticizer will ruin the ink (refer to page 3.25 for details).

PAGE 3 . 29

Chapter 3
How To Instructions

Dealing With Tacky Ink

Follow these steps to avoid tacky-ink problems: 1. Add the proper amount of the surfactant, as suggested by the manufacturer. 2. Use End Caps to compact the ink. 3. Calibrate the press. 4. Calibrate the flashes. 5. Sharpen the squeegee blade. 6. Use a thin mesh with a large open area. 7. Optimize the off-contact distance. 8. Lower the squeegee angle.

Poorly dispersed resin results in clumps of resin agglomerates in the ink and there is no way to improve the dispersion. Mixing would cause excessive heat and gel the ink, long before it would reduce the sizes of the agglomerates. Plasticizers (that do not encourage tack) or surfactants (wetting agents) can act as lubricants and may improve some performance properties, but they do not solve the problem of a poor grind and resin agglomerates that are welded together. That is the exclusive responsibility of the ink manufacturer.

Before Modifying High Tack Ink

If you are to about to modify your ink, first you want to review the list below, to

see if in fact the problem is the ink. Ink hanging up in the screen can be the press operators first inclination that the ink is not performing to specification. The list includes a variety of symptoms that may occur when the ink fails to transfer cleanly. 1. Is the ink fast fusing (refer to page 3.20)? 2. Does the screen mesh have an adequate flow rate (refer to page 1.14)? 3. Is the screen tension adequate (refer to page 4.8)? 4. Is the off-contact distance high enough (refer to page 4.5)? 5. Is the ink tack exhibited all over the screen (refer to the how-to on this page and review the information on page 3.29)? 6. Is the top of the screen clear (refer to pages 3.32 through 3.36 for further information)?

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If you can confidently answer yes to all of the above points, then adding something to reduce the tack level of the ink may be the only alternative. But before you do, the ink should be put on a Turnabout (or other mixer) and thoroughly mixed. The reason is simple-at rest the ink particles align and form a temporary barrier. The barrier can be broken down easily with the application of shear for a short time. If the ink has aged, then this false-body condition will exist, despite the shearing force. If you add a liquid without stirring first, it causes the ink to become far too thin and creates many other problems. The problems associated with over reducing inks are dependent on the particulars of the ink, the quality and type of reducing agent, but in general the results are as follows: 1. Loss of opacity. 2. The ink becomes harder to flash and fuse. 3. The ink becomes harder to overprint. 4. May visibly increase ink gloss level. 5. Assures the operator of after tack. 6. Leads to ink build-up, particularly due to absorption. 7. Likelihood of bleeding on polyester content garments. 8. Possibility of premature image fade. If there is a need to adjust the ink, follow the manufacturers recommendations. Do not exceed the limits without expecting a compromise in the performance of the product. U Build-Up Ink build-up, the accumulation of ink on the underside of subsequent screen, is due to poorly made ink, which has lost plasticizer through either or both absorption or excess hydraulic force. Although there are actions, which you can take to retard build-up, the real solution is the ink. The lists below suggest that you find out why you are having build-up by observing its location on the underside of the screen. The first thing to do if you are experiencing build-up is to watch closely to see if the ink begins to build-up around the perimeter of the screen or the central areas. Build-up will not occur if the ink does not lose its plasticizer, but it can lose it for more than one reason.
PAGE 3 . 31

Inks

Plasticizer s vs. Sur factants

There are no real-world universal additives. Total compatibility of one modifier with all plastisol inks is a fallacy, so before you adjust the properties of your ink, talk to your supplier or directly to the manufacturer of the ink. There are two thinners for the ink that has become too thick to flow well and transfer cleanly through the mesh. The two are plasticizers and surfactants. Plasticizers are the most common and the most dangerous in the hands of the press operator. They are chemically compatible with the ink but that is not the issue; they are inefficient and at a level of overflow. There is physically no room for them in aged up ink. When added they act as independent lubricants, just as if you put one extra quart of oil in your carit gets blown out after the damage. The overload is easily separated from the ink and then the only option is build-up. Surfactants do a far better job at dealing with ink tack but dont forgetonce plastisol ink has aged up there is no way to reverse it. The manufacturer can and must prevent the aging. Surfactants are very efficient wetting agents and for mild tack on press they can make it manageable. Also they have a lesser affect than plasticizers on the thermal stability of the ink. Consult with your supplier and adhere to the limits on the products that you are using and stir thoroughly before adding anything.

U Perimeter Build-Up (shear rate)

Chapter 3
1. Raise the squeegee angle. 2. Slow the speed of the squeegee blade and ensure that there is clearance between the flood bar and screen mesh. 3. Reduce the squeegee pressure, unless the ink is refusing to clear the central areas of the screen. 4. Reduce the off-contact distance, unless you have stroke direction image stretch. 5. Use a mesh with a higher flow rate and a greater percentage of open mesh area. 6. Test a fresh batch of ink one that has not accumulated lint or been subjected to heat on press. 7. Use a prescribed amount of a surfactant added to the ink only after it has been thoroughly stirred on a Turnabout or other mixer. 8. If the press is running hot due to a lot of flash curing, the viscosity of the ink may be too low and lead to phase separation, where the resin and the plastisizer break their bond. Stop the press and allow it to cool. Recalibrate the press before you begin printing again. 9. Of course flashing or running the build-up color last will totally resolve the problem. 10. Printing on an underbase will not help.

If the ink build-up initiates or is worse around the perimeter, then your build up is due to excess force. This type of buildup is relatively insensitive to different garment types, brands or constructions. The solutions to reduce the effect follow:

PAGE 3 . 32

Inks

U Central Build-Up (absorption)

If ink build-up initiates or is worse around the central areas of the screen, then your build up is caused by phase separation, due to absorption. This type of build-up is very sensitive to different garment types, brands or constructions. The solutions to reduce the effect are follows: 1. Increase screen tension to a recommended level for the count and thread diameter of low-elongation mesh. 2. Ensure that the off-contact distance is sufficient to eliminate positive-screen lag (the lack of snap back). 3. Minimize the contact edge of the squeegee blade on the screen mesh and be sure that you are not forcing ink onto the platen. 4. Use a higher mesh count; it will restrict the transfer of ink, preventing it from absorbing into the garment as readily. 5. Speed up the printing blades and reduce the dwell time between print cycles, this will reduce absorption time. 6. Under no circumstance should you add any liquids to the ink, they will not help and can actually hurt the absorption. 7. If the press is running hot due to a lot of flash curing, the viscosity of the ink may be too low and lead to accelerated absorption. 8. Of course flashing or running the build-up color last will totally resolve the problem. 9. Printing on an underbase will totally resolve this problem.

Figure 3.20 If there is a trace of ink build-up, all of the detail is lost immediately. Shown is a five color 120-line process print. Dropas is another HiRes AccuColor Tshirt print, printed by Target Graphics Ltd., artwork is by Tim and Scott Etters.

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U Perimeter and Central Area Build-Up

Chapter 3

If ink is building up initially, and equally, at the perimeter and the central areas of the undersides of the subsequent screens, then you have an ink problem. Short of flashing or running the color last, the only cure is another ink. Before you blame the ink, be sure to consider that there are inherent properties in various colors that may be a build-up problem. Altering the resin/plasticizer ratio can definitely lead to build-up-as well as flashes, lint and a few other things. 1. Whites are dilatent (shear thickening) and tend to build up due to phase separation. Of course to run at high speed is your goal but with whites, particularly on thick thread mesh, they fight back. The harder you push, the more the white resists. In this battle the white ultimately breaks down and the solid phase (resin) and the liquid phase (plasticizer) separate. In this state, the plasticizer can be absorbed into the garment or float on an under base, either way the result is build-up. Use a thin fabric with a large mesh-opening, raise your squeegee angle and you may have to reduce your speed. 2. Whites are often added to create pastel colors or to improve the opacity of another color. If white ink is added, it can be a problem. If it is white pigment, the problem may be worse (refer to number one). If you are working with finished inks, add a small amount of the strongest of the color family to the white. For example, if you want a light blue add reflex to white. Similarly, if you are using color concentrates, add a small amount of dark blue pigment dispersion to the finished white ink. 3. Fluorescents are tacky and contain excess plasticizer. They also require excess force to transfer and are prone to rapid absorption into the garment. Use the recommended surfactant (refer to the sidebar on page 3.32 for details), on a thin mesh with a large opening, and a near-vertical squeegee at a moderate speed.
PAGE 3 . 34

Figure3.21 The M&R KoolMist fits between two heads; it is the ultimate solution to after tack. It sprays a mist of water containing 5% food grade silicone to prevent the flashed ink from sticking to the next screen. It maximizes color capacity on your press; eliminates the need for a cooling station.

Inks

4. Fluorescents are often used to punch-up another color, that is to increase its saturation. If there is fluorescent and white in the color, review numbers one and three and consider running this color last. 5. Black and blue pigments require higher shear rates to transfer and they are loaded with plasticizer. These colors may separate phases (refer to number one) and may absorb readily into the garment. Use a mesh count with the largest possible opening for the hand and detail that your image demands. 6. If the problem is related to the blue and or black ink, and not the processing conditions, the two may exhibit a higher gloss level than other colors at the same deposit. Your only alternatives are to run them last, flash them, or talk to your ink supplier about the problem. 7. If you have added color concentrates there can be a problem. The pigment dispersion contains between 22 and 80 percent plasticizer. So when you add color concentrate between 1/5 and 4/5 of the addition is plasticizer. The resin may not be able to accommodate the overload. If so, the excess will separate from the ink and build-up is imminent. Your only alternatives are to run it last, flash it or talk to your ink supplier about the problem. 8. If you are using a base (unfinished ink) and its viscosity has increased (aged-up), its use may lead to severe build-up. Run the channel test (refer to side bar on page 3.14 for details), or ask your supplier for stable product. It is unlikely that anything will help hereother than proper ink. 9. Is the (finished) ink aged-up (increased in viscosity) and requiring excess force to transfer? Lay the squeegee more horizontal and speed up the 80 -durometer blades. This increases the shear rate and pressure on the ink. 10. Has the ink absorbed too much lint from use? Lint, in excess, will absorb the plasticizer and virtually turn into glue. There is no way to save the ink. Dispose of it properly and save your profits; put fresh ink in the screen. 11. Is the ink too hot, thin and runny from a flash (refer to chapter five for details)? If so, it is very prone to both separation and absorption into the garment. Either case will cause build-up at an accelerating
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rate. Adjust your flashes as prescribed and properly dispose of the ink. Once it has separated it cant be repaired.

Chapter 3

12. Has the ink gone into gel state from continued exposure to heat? If so, it must be disposed of. The cycle will thicken the ink, and you will be forced to increase the shear rate. Build-up will be at the perimeter, not through absorption into the garment. 13. Has the viscosity been altered, either with plasticizer or curable reducer? There is no guarantee there was room in the ink for the amount of plasticizer/reducer you added. If there was no vacancy, the added plasticizer will move at a different rate than the balance of the ink, causing phase separation. The excess plasticizer is prone to absorption and will act as a wick to draw the original plasticizer into the garment. 14. Have you cross-mixed brands of ink? If so, there is no one that truly knows what you have. There are no generic recipes that are marketed universally. There are fundamental and unique differences that can actually cause a mixture to build-up; when in fact, neither of the two virgin colors would have. 15. The purpose of this list is not to suggest that you tolerate ink buildup but to help you properly identify its cause. If it is the ink, then you must fix the problem, the cost of downtime is devastating and the quality suffers on the way. Adhesion And Surface Energy Graphics screen printers are far more familiar with the concept of surface energy than T-shirt printers, but to any of you who flash cure ink and then overprint it, the issues are the same as for the graphics printer. The study of surface energy pertains to the ability of ink to attach to a surface. That surface might be the raw substrate or another ink. Before reading any further please read the sidebar, Taking The Mystery Out Of Surface Energy. Plastisols adhere to a T-shirt primarily through mechanical adhesion. The knit of the shirt is a series of loops with a massive surface area onto which a plastisol can fall. Once the ink is fused, it cannot be torn from the garment its imbedded into too many nooks and crannies. Plastisol does not penetrate into the individual fibers, only dyes do that and plastisol is a coating. Conversely, if you put that same plastisol onto a coated transfer paper, the ink can be fused and still peeled cleanly from the surface without leaving a trace. The
PAGE 3 . 36

reason is the coating on the paper has a very low surface energy, and the surface is so smooth that there is little area for the plasitsol to mechanically lock-on to. The wet plastisol having a higher energy level; likes itself far more than it likes the sheet of paper. If the energy of the liquid has a higher dyne level than the substrate, the ink will not properly wet out the substrate. You have seen examples of this when you print on an underbase. The slick glossy white ink looks great, then you try to overprint it with Royal Blue. At worst, mottling, pinholes and color shifts are obvious, even with a thicker deposit. The white is tending to repel the blue- they dont like each other. The following paragraphs explain that all surfaces have microscopic pockets, no matter how smooth they seem. And that wetting is the extent to which the inks fill those micro nooks and crannies. Further, they detail the nature of the inks, how to tell if this is a problem in your plant, and what to ask the manufacturer for- to alleviate the problem.
Surface Tension

Inks

Taking The Myst er y Out Of Sur face Energy

Surface energy is the umbrella term for the phenomena of surface tension and critical surface tension. The term surface tension is used when measuring something in a liquid or fluid state. Critical surface tension refers to something measured in the solid state. Both are measured in dynesper-centimeter. To avoid color trapping, mottling and ink adhesion problems, the surface tension of the over-print ink (liquid) must be a lower number than the critical surface tension of the flashed and cooled ink film (solid) to be printed on. You must rely on the ink manufacturer to provide the surface tension levels (liquid ink), but dyne pens can be used in-house to test for critical surface tension on flashed ink film.

This is a measure of the tendency of the ink to resist wetting. Wetting at the point of initial contact is the degree to which the liquids of the ink, change places with the gases in the microscopic pockets on the surface of the flashed print. Surface tension is measured in dynes per centimeter energy units and is established on the ink while it is in its liquid form. The surface tension of the ink is determined primarily by the surface tension of the plasticizer that constitutes nearly half the ink. If a low surface tension plasticizer is used, the ink will tend to have a low surface tension and will wet out effectively. If the plasticizer used has a high surface tension, the ink will adopt this performance and not wet the surface below it well. If the plasticizer chosen for the core of the ink has a high surface tension, the ink manufacturer may select surfactants to reduce the surface tension of the ink. If not, you are likely to experience some of the wetting-out related problems covered in this section.

PAGE 3 . 37

Chapter 3
How To Instructions

Preventing Surface-Energy Problems

How to prevent surface energy problems: 1. Ask your supplier for the surface tension of the inks that you are using. 2. Be sure you get surface tension levels on all colors. 3. Remember, surface tension and critical surface tension aren't the same (refer to sidebar page 3.39). 4. Use dyne pens to test for critical surface tension of flashed cured inks. 5. Six pens from 30 to 40 dynes per centimeter are sufficient. 6. Store the pens as recommended in a cool dry area. 7. Do not keep a pen set longer than five months. 8. Ask your supplier for proper surfactants to adjust problematic colors. 9. Stick to the guidelines of the manufacturer for limits of addition.

These are the worst-case colors, those that tend to have high surface tension: Whites, due to the nature of the plasticizers used for anti-migration properties and in the pigments used for dispersion. Blues and blacks use specific plasticizers in their dispersion state, and these are often poor wetting agents. Fluorescents are notorious for poor flow and tend to have higher-than-normal surface tension and much of the time they reduce the critical surface tension of the gelled ink. Laboratory equipment is needed to measure the surface tension of the inks whether by critical angle or with the use of a tensiometer. You will want to leave this up to the ink manufacturer but ask for the results. You may find that some of your troubles are due to low surface tension inks.
Critical Surface Tension

This half of the surface energy phenomena is a measure of the tendency of the gelled ink (substrate) to be wet out by another color. The best analogy is Teflon (ptfe), it has a critical surface tension of 13.9 dynes per centimeter. The reason that nothing sticks to it is that most common liquids, foods, inks and chemicals have a surface tension that is higher than 13.9 dynes per centimeter. If the surface tension of the liquid is higher than the critical surface tension of the solid, then wetting will not occur.

PAGE 3 . 38

The critical surface tension of plastisol inks will typically range from low to high thirties. At a critical surface tension in the low thirties, not many ink colors will wet-it-out. Pinholes, color shifts, mottling and smearing are likely issues with this as the substrate. When critical surface tension reaches the high thirties, the ink is a dream to overprint even with contrasting color combinations such as Royal on White.
Testing The Critical Surface Tension

Inks

Visual Clues Identifying Sur faceEnergy Pr oblems

The following is a list of what you will see if you have surface-enery problems: v v v v White looks glossy, feels slick and overprints poorly. Coverage over underbase leaves pinholes. Some colors cover much better than others. Blues and blacks tend to mottle or reticulate on the surface. Halftones cannot be printed on an underbase. Halftones on an underbase have erratic color shifts. Fluorescents do not flow out onto an underbase. The ink climbs the squeegee and flood bar. You cant print anything on top of a metallic. Extreme color loss when overprinting.

There is a quick, low cost and simple test for the surface energy of the gelled (flash-cured) ink. It uses special felt-tip pens that contain measured liquids at a specific surface tension. The pens are swiped on the flash-cured ink and the critical surface tension is related to the time, in seconds, it takes the pen solution to beads up. Lets say that you want to evaluate the surface energy of your white underbase. Print the underbase under normal conditions; flash it and let it cool thoroughly. Hot inks will react differently than cool and give you an erroneous reading. Start with a pen at a dyne level of 30. Swipe the pen on a clean, dry sheet of paper, three times. This action allows the fluid in the pen to clean itself. Then swipe the pen on the flashed, cooled underbase. The solution will probably flow out and cover the underbase in a continuous line of fluid. In two seconds, if the fluid has not beaded up, then you know that the critical surface tension of the underbase is higher than 30 dynes per centimeter. Now select a pen that has a reading of 40 dynes per centimeter. Swipe it on paper to clean the tip and then onto the same flashed cooled under-base. It will probably bead up in two seconds or less. If so, this means your under-base has a critical surface tension of less than 40 dynes per centimeter. You now know the critical surface tension is more than 30 and less than 40 dynes. The pens are available in increments of two dynes: 30, 32, 34, and so on. By testing one lower and one higher pen number, you can establish the critical surface tension of the flashed

v v v v v v

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color. This will allow you to determine if the problem is due to an under printer or an overprint color. Fusion Testing

Chapter 3
Swipe test

Testing for fusion or total cure is divided into two parts; a calibration stage that allows you to set your standards and ensure results and second, a monitoring stage. Once you have calibrated you can then use quick tests at press side and be confident of the accuracy of those tests. The tests and how to use them are described in detail below. Total cure or fusion is based on the type of ink, its deposit, entrance temperature (as from a flash or not) and the dryer parameters. The possibilities are expansive. Are you near the upper or lower edge when you cure your plastisol? If you do not know, there is a quick test to allow you to develop a sense of position. Take a scrap, which matches your normal goods; tack the cloth to the platen. Use a spatula and swipe a gradient of white ink two-three inches wide and six inches long, from wafer thin to over 1/8inch thick. Then put the scrap through your dryer as usual. When it exits you should see the following results: The thick end of the swipe is still wet, or nearly so, and indicates undercure. The thinnest end is

Figure 3.22 Get Exotic (print compliments of Target Graphics) is a 65 Lpi halftone four-color-process print. There is no underbase and the colors are deposited at one mil each. Thin film deposits are more likely to exhibit problems with both the wet and dry crok test, but this shirt passed the test with flying colors.

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burned, or very glossy, indicating over-cure. The middle areas appear to be reasonably fused. Time, and then record the retention in the heating chamber, as well as the set and point temperature. If the entire swipe is fused, either your time is too high, your temperature too hot or both. If the entire swipe is still wet either your dryer is turned off or you have serious under-cure problems. You now have a quick index of deposit and cure times.

Inks

Testing With Ethyl Acetate

To test with EA follow these steps: 1. Print and cure a swatch or T-shirt. 2. Turn the shirt inside out. 3. Apply several drops of EA to the inside of the print. 4. Fold the printed image onto an unprinted area. 5. Press with a blunt edge for two minutes. 6. If there is ink transfer, the print is not fused. 7. If no ink transfer, the print is fused.

How To Instructions

Compare this test swatch to the opacity of a normal white print. Find the point on the swatch that matches in opacity or density to your normal print. This is the area that will alert you to the need to increase or decrease your retention time or temperature. Make the required change and repeat the test until the correct density is cured properly.
EA (ethyl acetate) Test

Testing for total ink cure is a case where more is better advice. Use the information about cure ranges you learned doing the swipe calibration to assist you with this test. This test is for calibration (not used to monitor results). It is fast and very accurate but destructive; you will ruin the shirt or swatch. Ethyl acetate is a very flammable solvent use caution as prescribed in the MSDS. Never put a shirt or swatch in the dryer after you have applied ethyl acetate to it. Take a printed sample shirt or swatch and put it through the dryer twice to be positive that it is cured. It is better to be over cured than under cured. This swatch will be the control swatch. Then put a second sample through the dryer at normal retention time and heat. This will be the print swatch. Use the first to check your cured ink against the EA test. Use the second sample to check for cure of your production conditions. Please refer to the flow chart on page 3.42 to review the testing process.
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Chapter 3
Figure 3.23 This is the step-by-step procedure for using Ethyl Acetate (EA) to establish a control or standard for testing degree of fusion and testing a printed garment, once your standards are set. Establishing the control requires certainty of fusion send the garment through your dryer two times rapidly, back-to-back. Be sure the garment is back to room temperature, before testing. Use caution with EA, it is a highly flammable solventplease study the MSDS sheets. This is a very thorough test and should be completed as a calibration for scratch, stretch and crock testing.

Cautionbefore you proceed with this test, contact your ink manufacturer to confirm compatibility of your plastisol with the E.A. test.
PAGE 3 . 42

Take the control garment and turn it inside out (or in the case of a swatch to the back-side of the print). Be sure the swatch and ink are cooled for the EA to work properly. With an eyedropper apply several drops of the EA solvent to the inside (or back) of the swatch directly behind the printed image. Using the area of the swatch covered with EA drops put the front (printed image) into contact with a non-printed area of the swatch. Press firmly with a blunt instrument from the point where the EA was applied. Hold the surfaces in contact for two minutes and peel apart. The EA test will produce one of two things on the control swatch; it will transfer ink to the non-printed area or it wont. If it transfers ink you will need to repeat the test, but run the sample through the dryer three times. If you cannot get the control swatch to pass the test and you are positive the ink is more than cured, it is possible that the ink you are using will not withstand the EA test period. Using the swatch that went through the dryer three times, find a spot unaffected by previous testing, apply the EA solvent. This time when you contact the printed image to the non-printed area, reduce the time to 90 seconds. If you still transfer ink, then the ink has a bleed problem that cannot be controlled with cure time. Contact your ink manufacturer to solve this problem or find another ink that will pass this test. Now test your print swatch with the same method used on the control swatch. If the print swatch does not transfer ink, leave your retention time and temperature as it is. If the EA test failed, you need to adjust your dryer retention time or temperature. Repeat the test until you have a sample that doesnt transfer ink. Do not over compensate, or you will be running your dryer at higher temperatures than necessary or longer retention times than necessary-either will add cost to your bottom line. Now you have found the correct dryer retention time and temperature for the tested ink at the tested film deposit.
Scratch Test

Inks

This is the standby test, which is used most often because it is convenient, but many times it is inaccurately done with fingernails. We suggest that you first run the EA test (see opposite page) and then launder the test prints so you can have confidence of pass and fail. The nails or any sharp tool can cut through a plastisol even once it is totally fused. By calibrating with the EA and laundering tests, you will know just how hard to scratch the surface. The amount of pressure required to scratch the surface will become your standard for monitoring. After you have calibrated your print curing you can rely on the scratch test to monitor pre-established results.
PAGE 3 . 43

Stretch Test

Chapter 3

Since plastisols are good thermal insulators, stretching the print to look for cracking can be inconclusive. The reason is that you are observing the portion of the garment that got the most exposure to heat, so it is the part that will be least likely to crack. The ink can be totally cured on top and not on the inside. Nonetheless this test will help you to identify blatantly under cured results. Be sure that you rely on this test as a monitor-only-test, after you calibrate with the EA test and then double check with laundering. Then you can use stretching as an effective monitor of the results.
Crock Test

This test is used for both calibration and monitoring. Wet and dry crock testing is a textile-industry standard, with very specific procedures, that do not fit the plastisol, T-shirt community very well. Crock resistance is the likelihood that the color will not transfer from the print, either when dry or wet. The test is to suggest that the print will wash and wear well. Use the inside of the shirt or a white T-shirt and scrub the image forcefully with several strokes and look for color transfer. If you see color transfer, your ink is under cured. Try putting it through the dryer one more time and retest. If there is any transfer of color, check the following: 1. Proper curing conditions. 2. Plasticizer level of the ink. 3. Use of reducers or curable reducers. 4. Presence of fluorescent colorants. 5. Pigment overload. The only part of the ink that is strong is the resin. Anything that is added to reduce the percentage of resin weakens the ink film. If the resin load is high enough, then we would suspect either a pigment problem or a curing problem. Wet crock is a launder monitoring test and about as harsh as the washing process can be. Laundering is one of the most harmful elements the printed image needs to withstand-you should be able to anticipate its affect. Periodic wash tests are highly recommended. Meanwhile, the following test will simulate washing a perspiration-stained T-shirt. Use a 50 percent mix of glacial acetic acid (white vinegar) and water. Soak the printed image in this solution for 15 minutes and then
PAGE 3 . 44

perform the dry crock test as described above. Perspiration is very hard on the print and the vinegar simulates the effect of perspiration.
Laundering:

Inks

Calibration and Monitoring Of Ink Cure

Calibration must be completed before monitoring can be reliable. The following tests must be done in the order listed, and each test must pass before moving onto the next. The swipe test gets you in the ballpark for the EA test. The EA test is the real-calibration test. The swatch, stretch and crock tests need to be done on a sample that has passed all the previous tests, to provide you with a reference for knowing what to expect during monitoring. Calibration 1. Swipe test for dryer retention and temperature ranges. 2. EA test to verify ink cure. 3. Scratch Test to establish pressure required for monitoring. 4. Stretch Test to establish results of stretch for monitoring. 5. Crock Test to establish results of crock for monitoring. Monitoring 1. Scratch Test 2. Stretch Test 3. Crock Test

How To Instructions

If the shirt passes all the other tests, then there is every reason to believe it will do well in laundering. There is a standard for performing laundering tests that can be obtained from the American Association of Textiles Color & Chemicals (AATCC), should you decide to add this test to your process. The tendency for a garment to with stand repeated washings is affected by the wash standards and the following print parameters. 1. Cure level. 2. Ink deposit. 3. Degree of adhesion to the garment. 4. Plasticizer level of the ink. 5. Filler level of the ink.

If the print on the garment is not fully cured, washing (which is intended to remove dirt, grease and grime from the micro pockets of textiles) removes the excess plasticizer from the ink. What is left is a brittle and very thin sheet of plastic, which will crack and peel from the garment. However, it may not be the printers fault; if the ink was over plasticized, and many are, then you may not
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have been able to fuse the ink at a reasonable time and temperature. The ink may have been defective.

Chapter 3
Standard plastisol cannot be dry cleaned for the same reason; the solvents used in dry cleaning can, and will, extract the available plasticizer from the print. What is left is brittle and very thin; it cracks and flakes off of the shirt. Ironing is never acceptable, and though there is hardly an epidemic of ironing in our wash and wear society, you must caution your customers that ironing will melt the ink and do its best to ruin the iron.

Turning the shirt inside out is a tough sell to the consumer, but a great idea, nonetheless. Wash in warm water with mild detergent and not with other garment types is the same dilemma; most people dont want to take the time, the Tshirts are seen as expendable until their favorite is eroded and then the Figure 3.25 A "Heat Gun" is ideally suited for checking gelation under a flash. The print on denim (compliments Promotions Chicago) should be checked for flash to insure printer gets blamed.
sufficient penetration into the woven (not knitted like T-shirts) material. If the platens are not acting as a heat sink, adhesion can be compromised.

Figure 3.24 The GATF test image shows the results of fast recovery and high opacity whites when used as an under base. The reflection density of the white is 0.01for near total whiteness. The fast recovery and high mat down kept virtually all fibers below the ink surface through a 305 mesh. Garment compliments Target Graphics Ltd.

Keep in mind the gauge for minimum dryer retention time and temperature is print durability- maximum is absence of bleeding, blistering and penetration.

PAGE 3 . 46

Inks

Dryer Temperature Testing

To gain a sense of position use the swipe test as described on page 3.40. You dont test the flash or dryer for cure or fusion; you test them for temperature-this is important to understand. Cure is a result of time, temperature, and the cooperation of the ink. And that cooperation should not be assumed. Use a CofA confirm the fusion temperature or contact your ink manufacturer to acquire this information.
Donut Probe

Profiling A Dryer
To profile the dryer follow these steps: 1. Get a stopwatch and an assistant. 2. Start the donut through the dryer. 3. Record the digital temperature every five seconds. 4. Ideally you will aim for the printed shirt to exit the dryer in the exact retention time and temperature standards developed in the EA test.

How To Instructions

This system uses a meter and a cable attached to an insulator and a thermocouple. The insulator is shaped like a donut and this probe runs through the length of your dryer. The thermocouple is relatively fast in its response and indicates an elevation in temperature similar to that experienced by the ink and garment. The leads are to be laid in or on the wet ink so this is a destructive test. Note that if your dryer is infrared, the donut probe is inaccurate unless the leads are imbedded in the ink. The beauty of the system is that it gives continuous feedback on the relative heat at a specific position. With a bit of record keeping you can profile any dryer and begin to optimize its settings. The downside of the system is that it is bulky and not as convenient as other methods, we recommend that you tolerate the wires and profile the dryer. Finally most of these units that we see in the field have not been accurately calibrated. Calibration should be done according to the manufacturers directions; keeping the wire leads taut, or the readings are will be erroneous.
Heat Gun

These units are non-destructive, ultra convenient and if calibrated to a standard, can give nearly instantaneous readings with great accuracy (generically called non-contact infrared pyrometers). The meter reads the emitted energy from what ever it is aimed at. Few of these units have been calibrated to the complexPAGE 3 . 47

ity of the calibration procedure. It is best left to the ink manufacturer to calibrate these units to his ink parameters. Gloss, texture, color, ingredients and range of

Chapter 3
Figure 3.26 The macro shot shows the striking effect of an award quality high-density print. The reason for its inclusion here is caution regarding the mileage you might expect. With a twenty to thirty mil deposit, you will get approximately 50 to 80 square feet per gallon. Aesthetically and financially high density is best served in small doses. Figure 3.27 The micro shot shows the relief of the high density Addidas print. Ink mileage is based on both the area of the image and the height of the print. In this case the area is quite small, but the height is extreme, adding to its effectiveness. Garments for both photos are compliments of Liberty Screen Print.

Ink Mileage Based on Deposit

1600 1400 1200 1000 800 600 400 200 0

1.0 1.5 2.0 2.5 3.0 3.5 4.0 4.5 5.0 5.5

Figure 3.28 The graph shows ink mileage based on mils of ink deposit. The deposit (horizontal axis) runs from one to five and one half mils. The square feet per gallon (on the vertical axis) goes to 1600 square feet, equivalent to a one-mil deposit. A 3 mil deposit would yield 535 square feet of image per gallon.

Sq. Ft. Per Gallon

Mils of Ink Deposit

PAGE 3 . 48

temperatures all affect the emissivity of the ink and therefore the readings of the heat gun. These do not need to touch the part, but focus on a narrow field even from a distance. For flash-cure testing, these guns are indispensable. Keep them away from direct exposure to heat and if you have not calibrated the gun, realize that the numbers may be sufficient but not absolute.
Temperature Tapes

Inks

Estimating Ink Mileage

Estimating By Weight 1. Cut a swatch of the material. 2. Run swatch through dryer. 3. Weigh swatch on very precise gram scale (tenths of a gram). 4. Immediately print ink color onto swatch. 5. Immediately run printed swatch through the dryer. 6. Re-weigh the swatch. 7. Subtract unprinted swatch weight from printed swatch weight. 8. Divide the resulting weight by the weight of a gallon. 9. This is the percentage of a gallon used per print. Estimating by Area 1. Refer to Approximate Mils per Mesh chart, figure 3.22. 2. Find your mesh count on the vertical axis. 3. Find the approximate mils on the horizontal axis. 4. Refer to Ink Mileage Based On Deposit, figure 3.23 5. Find the square foot per gallon. 6. Find the square footage per color. 7. Divide the results of # 5 by the results of #6. 8. Refer to Dozen Per Gallon at 50% Coverage, figure 3.23. 8. Compare the results to 50% coverage at your deposit. Notes: For greater accuracy on ink mileage, estimate by area. Some graphics software packages offer a pixel count for extreme accuracy of computing image area. Measuring the wet and dried ink film thickness will be more precise than the table provided.

How To Instructions

These are gray plastic, which are used one time only. When exposed to heat the gray turns black. They are available in ranges of temperatures that will allow you to test for temperature in a dryer. They are expensive, but convenient and fast-they will not interrupt production. Do not get confused and think you are testing for cure, this tests for temperature only.

Ink Mileage
There are three ways to estimate the ink mileage on a Tshirt and the most accurate occurs after the job has ended. The second most accurate requires a very sensitive gram scale and the third

PAGE 3 . 49

Chapter 3
How To Instructions

Calculating Ink Mileage

To calculate ink mileage follow these steps: 1. Select a container of ink to print multiple shirts. 2. Weigh the container of ink prior to run. 3. Print the job, stop prior to completion of the container of ink. 4. Take a shirt count at the point that you stop. 5. Return all unused ink to the container. 6. Weigh the leftover ink. 7. Subtract the leftover ink weight from the original weight. 8. Divide the total weight by the number of shirts printed. 9. This is the weight-per-shirt. 10. Divide the weight-per-shirt by the weight of a gallon. 11. This is the percentage of a gallon used per print.

is a ballpark number, but it is immediate and can be run in your office or that of your customers.

Actual ink mileage is predicated on nearly all of the variables discussed in this book. Mesh parameters, stencil impact, press settings, virtually all of the blade properties, all of the temperature conditions, the substrate specifications and the image itself-all have a bearing on the actual deposit. The three methods in order of accuracy are: Method One weighs the ink prior to, and after, production. The number of prints divides the ink consumed and the result is the weight per print. That weight is taken as a percentage of the gallon. This method is far and away the
Figure 3.29 Viscosity, shear rate and screen / stencil geometry all interrelate to determine the actual deposit of the ink. This graph is offered as a quick estimator of mesh and ink deposit. Since the ink cost is nearly always a less significant of the unit cost, we feel that mileage and cost can be approximated in most cases. A 300 mesh deposits a nominal 1 mil of ink.

Approximate Mils Per Mesh

350 300 250 200 150 100 50 0

Mesh Count Per Inch

1.0 1.5 2.0 2.5 3.0 3.5 4.0 4.5 5.0

Approximate Mils Deposit

PAGE 3 . 50

most accurate but it has trade-offs. It cannot be staged prior to the run, you will need a gram scale and it requires an accurate estimate of grams per gallon per color. Method Two is simpler, can be done in plant and requires a very accurate gram scale (tenths of a gram resolution). Consistency is implied in this test so it is very important that you do not vary in the test methods. A swatch is run through the dryer to remove all moisture, it is immediately printed and fused and then the swatch is weighed again. The difference is then taken as a percentage of the weight of a gallon of ink.
Dozen Per Gallon @ 50% Coverage
280 240 200 160 120 80 40 0

Inks

1.0 1.5 2.0 2.5 3.0 3.5 4.0 4.5 5.0 5.5

Figure 3.30 Dozens per Gallon per color is the final graph in the chapter. The horizontal axis ranges from one to five and a half mils deposit. The vertical axis ranges up to 280 dozen. It is an estimator of a color at a nominal one half square foot of coverage. So 89 dozen shirts could be printed at 3 mils deposit and 50% coverage.

Dozens Per Gallon

Approximate Mils Deposit

Method Three is to estimate the mileage by image dimensions. This is often times the most real-world of the three for it is fast, reasonably accurate and can be done anywhereany time. It implies the reality that the unit cost of ink is insignificant in the big picture of screen printing. It uses an estimate of deposit and an estimate of the area of the image per-color and computes a quantity of ink. This method is only as accurate as the estimates used.

PAGE 3 . 51

I.Press Calibration Off-Contact C Range Of Off-Contact Distances C Off-Contact And 65 Lpi Halftones C Central Off-Contact Adjustment C Tension And Off-Contact Distances C Peel Rate II. Aligning The Press How To Calibrate A Press III. Squeegee Blade Purpose Have Enough Blades On Hand Characteristics Of The Orignal Blade Preparing To Print On-Press Performance P The SolutionNot The Problem IV. Registration Tri-Loc Rapid Registration System L Issues Not Solved By Tri-Loc L

Chapter

PRESS CALIBRATION

Press Calibration

Press Calibration
Tips To Reduce OffContact Adjustments
Setting the off-contact distance is unquestionably the most critical adjustment on the press since it determines ink transfer, image registration and screen life. Both the Challenger and the Gauntlet have as standard, no-tools offcontact adjustment. This is to make the change to a different off-contact setting quick and easy, it is not intended as a per-print repair tactic. You want the press to print as much of the day as possible, so remember you make zero profits while you are adjusting the off-contact setting. You will want to reduce or eliminate the need to adjust the off-contact distance on individual heads by adhering to the following list: 1. Standardize the screen sizes as recommended, refer to Screens chapter. 2. Calibrate your press as needed. 3. Minimize the range of tension +/- 2 N/cm, refer to Screens chapter. 4. Use a squeegee 1 longer than the image. 5. Select a mesh that eases ink transfer, refer to Screens chapter. 6. Select ink that transfers easily. 7. Select a blade with minimal deflection. 8. Off-contact distance set with max stroke lengths. 9. Use single point off-contact adjustment on the indexer. PAGE 4 . 3

Press calibration is the process of interpreting your printing standards and establishing a press setting that optimizes those standards. Because the standards vary from shop to shop and many operators do not adhere to a standard specification, M&R has developed the Gauntlet and Challenger presses to offer selective control to compensate for any deficiencies in your set-up. Calibration is not a setting or a position but a condition that improves over time. Press calibration is done in part by the installer as they insure the level of the indexer, center shaft, press heads and platens. On a micro level it is wise to custom calibrate your press to print with optimum efficiency under your conditions. You should first characterize your printing needs, image tolerances and dimensions and the like. As your standards change so does the need to calibrate your press. Those who are doing higher speed, higher resolution and more sophisticated printing will find a greater need to custom calibrate than a shop that is comfortable at a lower standard. Press calibration includes the following parameters: 1. Indexer levelthe center shaft of the indexer must be plumb or risk undue stress on the bearings and none of the other elements of press calibration can be set with only a level. 2. Carriage levelthe carriage drives the squeegee and floodbar and must run parallel to the plane of the mesh and the plane of the platens. 3. Platen positions level and set to a relative height. This is most critical on a multi-colored automatic press. All platens must not only be flat and level but must all be on the same plane. 4. Screen position left to right front to back, level and set to a relative height. Specifically the mesh must be parallel to the carriage, and to the platens. 5. Squeegee stroke length, speed, angle and pressure.

Although many of these are adjusted frequently try to keep the frequency to a minimum.

Chapter 4

Press calibration is intended to become a macro standard, which is it is done on regular intervals and therefore eliminates a lot of time wasting when you should be printing. Press calibration on a micro level would include a lengthy list of adjustment features for your Gauntlet and Challenger press and these are detailed in this chapter. These are for on-site re-calibration of the press to compensate for any errors or shortcomings in your set-up. You would never want to own a press that did not have this ability to adapt on the spot. But it is wise to rely on these infrequently only as needed and not to make all possible adjustments a part of your press set-up ritual. If it does not add value directly to your printed image, try and eliminate it. C Off-Contact Off-contact distance is the gap between the bottom of the stencil and the surface of the platen. The gap is necessary for several reasons: 1. Remove the mesh from wet ink after the blade passes over or mesh marks and smearing would be the result. This will occur if the off-contact setting is too low. 2. Eliminate image stretch in the stroke direction so that the image is accurately sized. If the off-contact distance is too low, image stretch in the stroke direction is a result. 3. Increase the force between the blade and mesh at the midpoint of the blade. Even on a perfectly consistent screen with no variance in tension, the tension increase at the ends of the blade is far greater than at the middle of the blade. The off-contact distance must be sufficient to raise this midpoint to a minimum for ink transfer. 4. Equalize the force between end and midpoint of the blade. In addition to number three immediately above the force against the mesh at the ends of the blade should be as close as possible to the force against the mesh at the middle of the blade. Although there is only one perfect off-contact distance in any given condition, that is not a real world approach. We have listed the process of defining your settings so that you can use one off-contact distance and simply adjust with single point adjusting on the indexer. This device moves the platen up stop position higher or lower in increments of 1/16 inch (0.063). Once the press is set it is
PAGE 4 . 4

Press Calibration

Off-Contact Distance

Figure 4.1 This illustrates the gap between the bottom of the screen and the top of the platen, the off-contact distance. Off-contact distance is one of the first settings on press; it must be uniform and the proper distance on all platens.

easy to shift for fleece, a set of lower tensioned screens or an unusual substrate thickness. C Range of Off-Contact Distances There is an infinite range of off-contact distances but only one distance that is precisely correct for your image tolerance, ink well and tension specifications. Fortunately we can help you find a setting that allows you to use that one point for a wide range of press, ink and screen conditions. Below we have listed several milestones for off-contact distances: The ideal off-contact distance for image accuracy would be equal to the wet ink film thickness. After all the mesh would not rest in the wet ink and potential image sizing would be excellent, and these are two of the criteria of an off-contact gap. Unfortunately conditions are unlikely to permit such a close setting. In the real world, there are several downsides to this extreme: First there would be insufficient contact pressure between the mesh and the blade at its mid-point. Second at all but extreme tension levels, there would likely be excessive drag of the mesh and the image would mis-register in the stroke direction. Third none of the press conditions or settings is likely to operate at such a tolerance.
PAGE 4 . 5

The off-contact distance is insufficient if and when there is image stretch in print stroke direction. This causes misregistration and smearing of the details or edges of the image on the far edge of the stroke. This ranges from the wet ink film distance up to the level of minimal contact pressure between blade and mesh.

Chapter 4
The minimum off-contact distance is that gap between mesh and platen, where the contact pressure between blade and mesh is sufficient at the midpoint of the blade. It is apparent that this distance will occur closer to the platen as the tension level of the screen increases but this is not an absolute. Tension alone is not enough to equalize the squeegee / mesh pressure at the midpoint of the blade. The optimum off-contact distance is that plane below the image tolerance based on ink well. It raises the static tension of the mesh to dynamic tension without image stretch and equalizes contact pressure between the ends and the midpoint of the blade and mesh. As this is the most critical setting on any press, it is wise to choose your products and tailor your processing to accommodate the optimum distance.

a. positive

b. ideal (zero lag)

c. negative Permit Zero Screen Mesh Lag

Figure 4.2 This drawing shows positive screen lag is a result of insufficient off-contact distance and tension for the conditions. It results in the screen sticking to the shirt after the squeegee passes. The result is mesh marks, smearing and blurring. Zero screen lag is a condition that exists when the speed at which the screen mesh lifts from the image is exactly the same as the squeegee speed. This is the goal and an indication that the offcontact and tension are in balance with your press and ink. Negative screen lag is a result of excess tension and off-contact distance. This one requires a trained eye focused on the blade and mesh. It is difficult to see but causes problems nonetheless. It is a symptom of ripped and burst screen mesh.

The maximum off-contact distance is that which will achieve the image tolerance but any more than this will exceed the image tolerance. It is predicated on the
PAGE 4 . 6

size of the minimum ink well, and the tolerance of the image. It is wise to run as close to the maximum distance as possible so that the blade / mesh pressure is equalized from the blade ends to its midpoint. An excessive off-contact distance is that which due to the ink well size will not permit accurate register of the image. When printed, the image is reproportioned as in a photographic spread. The image is too large on all four sides, not only in the stroke direction. Also this distance accelerates stencil wear, increases dot gain and leads to early screen fatigue. If you are printing process, it is a setting that will insure progressive moir.

Press Calibration
a. low

b. ideal

The ideal off-contact distance for image accuracy equals the wet ink film thickness. The off-contact distance is insuffic. high cient if and when there is image stretch in the print stroke direction. The miniThree Off-Contact Settings And Image Size mum off-contact distance where the contact pressure Figure 4.3 This illustrates the effect of the three possibilities of offbetween blade and mesh is contact distance; too low, correct and too high. The drawing at the top sufficient at the midpoint of shows an off-contact distance that is too low and resulting in image stretch in the squeegee stroke direction. The middle drawing shows the correct offthe blade. The optimum the contact distance and the image is relatively un-distorted. The bottom drawplane below image tolerance ing shows excessive off-contact distance and results in an oversized image based on ink well. It raises on both sides of the blade. This re-proportioning is similar to a choke or tension without image stretch spread image in pre-press. and equalizes contact pressure between the blade and mesh. The maximum off-contact distance is that which will achieve the image tolerance but any more than this will exceed the image tolerance. An excessive off-contact distance is that which due to the ink well size will not permit accurate register of the image.
PAGE 4 . 7

Increase Or Decrease Off-Contact Settings?

Increase If: For closer tolerance artwork, a closer off-contact setting may be required. Note you may be too closeyour off-contact distance may be too lowif and when: 1. Tension is too low. 2. Ink tack is too high. 3. Ink well is very large. 4. Build-up occurs initially in the central areas of the subsequent screens. 5. Observe excessive stretch in the stroke direction. 6. Screen sticks in the center. 7. Squeegee is too soft and flexible. Decrease If: For artwork that is forgiving, closer off-contact may not be needed. Note your off-contact distance may be too great if and when: 1. The image is reproportioned larger. 2. Initial tension is very high. 3. Screen fatigue is rapid. 4. Build-up occurs initially at the perimeter of subsequent screens. 5. The ink well is very small. 6. The squeegee is inflexible. 7. You prefer to run a high level of peel. PAGE 4 . 8

C Off-Contact And 65 Lpi Halftones

Chapter 4

The following graph is offered as a guideline to allow you to see the requirements for off-contact distances to hold maximum tolerances for a 65-line halftone print. Note that this does not insure minimum tolerances (see above). The reason that it does not is that the press conditions and the screen tension level must support a minimal distance. C Central Off-Contact Adjustment Standard on M&R Gauntlets and Challengers is central offcontact adjustments. In practice it allows you to standardize your off-contact distances as prescribed in this manual and then with the shift of a lever, below the indexer, the off-contact is changed for the entire press. This allows you to run virtually any group of screen tensions on any apparel such as fleece, bandanas and tee shirts. Each notch that the lever can be set into moves the off-contact 0.063 or 63 mils. You may find that bandanas run best on one level and then one notch up for tees and a second notch up for fleece. Also you will want to reset your squeegee pressures and the distance of your flash units to accommodate the new off-contact setting. C Tension And Off-Contact Distances Static screen tension should support the off-contact distance; it is not the other way around. The graph below plots screen tension from 10 to 60 N/cm against a range of off-contact distances up to 0.400 or 400 mils. Of course lower tension screens must be run at higher off-contact distances. But as you can see in the graph, the slope of the curve flattens as the relationship between tension and off-contact gap becomes less extreme. Peel Rate This section is offered for the M&R Formula and Ultimate press owners where automatic peel is standard. Peel is the jargon for the incremental lifting of the screen during the print stroke, directly proportional to the stroke position of the squeegee. It is comprised of two facets, starting point and rate

Figure 4.4 This shows the relationship between the size of 0.12 the ink well, the 0.11 off-contact distance 0.10 and the resulting image tolerance. 0.09 Process-color toler0.08 ance can be com0.07 puted by the size and structure of 0.06 the primary rosette. 0.05 Shown is a nomi0.04 nal 65 Lpi and the needed combi0.03 nations of off-con0.02 tact distance and 1.0 1.5 2.0 2.5 3.0 3.5 4.0 4.5 ink well. Note at Inkwell In Inches a 2.5 inch ink well, your off contact distance must be 0.082 or 82 mils. And as the distance decreases, the tolerance tightens. Closer means you must be even more accurate or the value of being set closer is lost. Refer to the sidebar to assess your off-contact distance; if it is creating problems make the necessary adjustments.

At 65 Lpi Tolerance

Figure 4.5 This Tension & Off-Contact Distance illustrates the relationship between off-contact distance and ten0.400 sion levels. Initially 0.350 the ink well is fixed; the squeegee is a given 0.300 length and the frame is a given size. To 0.250 permit image toler0.200 ance, the off-contact must be at the proper 0.150 height. To permit this distance without screen 0.100 lag or image distortion, the tension must 0.050 be at a specific level. 0.000 The graph shows that 10 15 20 25 30 35 40 45 50 55 60 you need about 26 Tension in N/cm^2 N/cm to permit an 82 mil off-contact setting and register a 65 Lpi halftone with a 2.5 inch ink well but you should be cautious about two facets: ink transfer and image stretch in the stroke direction.
Off-Contact Distance in Inches

Off-Contact Distance

PAGE 4 . 9

Chapter 4
How To Instructions

Determining Off-Contact Distance

1. Review figure 4.4 to select off-contact based on image tolerance. 2. Set the off-contact distance with a meter. 3. Adjust distance front and rear on each press head. 4. Always use the recommended screen size. 5. Use a squeegee 1 longer than the image width. 6. Review figure 4.5 for recommended tension level. 7. Set press to print with recommended screens and blades. 8. Run squeegee pressure at a minimum. 9. If positive lagink tack and mesh geometry are imbalanced. 10. If negative lagtension (and/or peel) are too high. 11. If image is oversizedoff-contact is too high. 12. If image is stretched (stroke direction) tension is too low.

of lift. Before the squeegee begins the stroke, the screen is at the initial off-contact distance. As the blade begins to travel the screen lift is minimal. And as the stroke continues the lift increases as well. By the end of the stroke, the lift is at a maximum distance. It is the intention of screen peel to eliminate positive screen lag (poor snap-back) and to equalize the contact pressure between the blade and the mesh at its ends and midpoint. It offers the press operator a rapid fix to a variety of problems. You may find that increasing the peel allows you to print with a variety of shortcomings including press settings, screens and ink.

Following is a list of conditions that can exist in every day production due to fundamental flaws in the process; they may be solved with the peel adjustment. You need more peel if 1. Smaller well - needs contact pressure at midpoint. This includes a smaller frame, longer squeegee blade and a longer stroke length. 2. Greater interface of blade to mesh - including a softer blade, more force applied (higher line pressure) or a larger blade edge radius. 3. Higher ink tack - requires greater hydrostatic pressure and will be noticed in the center of the screen. The ink will tend to hang-up in the central areas.
PAGE 4 . 10

Press Calibration
4. Imbalanced SS curves - will cause a tension loss during production and this loss will affect registration and ink transfer. 5. Excess print speed - the blades on M&R presses can outpace many inks ability to transfer through the mesh and force you to set a higher shear rate with peel. 6. Lower off-contact - will increase the imbalance of blade and mesh contact pressure between the ends of the blade and its midpoint. 7. Excess flood pressure - can cause a short ink (which regains its body very fast) to transfer the screen inconsistently. 8. Twill weave - has the worst geometry for ink transfer, even at high tensions, particularly noticeable with halftone printing. 9. Low fabric mass garments - which are the norm, do little to help pull the ink from the screen mesh as the squeegee passes. 10. Uncalibrated Press - including a crown or dish in an old platen, heads too low, platens too high or a squeegee that is reaching for platens. 11. Lower tension screens - do not allow the proper transfer of ink at any position, central or perimeter, on the printed image. 12. Coarser mesh - including thick threads, smaller openings, thicker fabric, lower count and a higher flatness angle, need more pressure. With an ability to on-site resolve these printing constraints, peel must sound like a panacea for production. But if you look at the list, most of these twelve issues are elements that can and should be controlled by prepress and the press operator. It is best for the long term to be proactive and calibrate and standardize your production to eliminate the need for peel but peel will allow you to quickly react to the situation be it quality or productivity. Should you choose to over use peel to save a press run with conditions that are beyond hope, there will be trade-offs in the form of: image reproportioning, screen fatigue and bursting or ripping. Remember that peel is in addition to the off-contact distance and therefore it will affect printed image tolerance. The benchmark for peel is zero screen mesh lag refer to page 4.6 for details). There are two independent adjustments for controlling peel: first is a global settingpeel start and it is best used to remedy issues due to the following:
PAGE 4 . 11

Chapter 4
How To Instructions

Minimizing Peel Rate

1. Select the proper frame size to maximize the ink well. 2. Use a properly sized squeegee. 3. Set the maximum off-contact setting for image tolerance. 4. This setting must provide sufficient ink transfer. 5. Use the indexers single point off-contact setting. 6. Use a plain weave, low elongation, thin thread screen mesh. 7. Choose a screen mesh that is balanced in warp and weft. 8. Tension screens to support zero lag and zero stretch. 9. Select and ink with a low tack level. 10. Set peel rate to zero. 11. Run several sample prints to warm the ink.

1. Low off-contact distance. 2. High ink tack.

3. Poor mesh geometry. 4. Low dynamic mesh tension. 5. After flash ink tack. Second is the rate of peel and it is best used to remedy issues due to the following: 1. Uncalibrated press. 2. Small ink well. 3. Low fabric mass garments. 4. Platen deflection due to excess pressure.

5. Maximum stroke length. 6. Low squeegee pressure (large contact area). We recommend that you begin with zero peel settings as they are very easy to initiate and you dont want to over do initial peel or peel rate. If you are experiencing premature screen failure refer to page 1.45 and note the following: If the screens burst in front, parallel to the blade, delay peel start. If the burst is in the middle of the screen, retard the rate of peel.

Aligning the Press

There are a number of advantages to custom press calibration that far outweigh the time and effort expended. A press that is out of calibration shares primary responsible for: 1. Ripped screens are commonplace because each platen comes into
PAGE 4 . 12

Press Calibration
print position at a different height and skewed, front to rear and side to side. 2. Inconsistent flash curing is a given because a small change in distance can have a significant change on watt density (refer to figure 5.10 for details). 3. Inconsistent squeegee wear as the platens come into print at a variety of positions, the blade deflection is inconsistent front to rear and side to side. This wearing changes the edge of the blade and creates variance shirt to shirt and the next press run is even worse. 4. Inconsistent image color and sizing is a promise of an un-calibrated press. There is no way to establish off-contact distance, screen tension or squeegee pressure. 5. Loss of registration due to the isolated stress imposed by the extremes of the squeegee pressure cause isolated loss of tension and therefore image shift. 6. Long set up times result due to the variance of the platens. If one screen is tilted front left and the platen is tilted right rear the size and shape of the image will fluctuate. There is no way it will align properly. 7. Slow print speed will reduce the shear rate on the ink and minimize the blurring and mottling but only at the cost of productivity. The point of calibration is to insure that proper squeegee pressure is applied to all points on every platen by every press head. This means that the screen mesh, platens and carriage drives are parallel at all points and have a gap preset to a reasonable distance. Most of the presses in the field have been adjusted to treat symptoms and have not been returned to a zero or home position. If this is the case with your press you may be fighting some of the symptoms on a daily basis: Carriage drive not parallel to the platen: 1. Squeegee pressure inadequate front or rear 2. Screens tend to rip near one end of the stroke. Carriage drive not parallel to the mesh: 1. Registration problems in stroke direction.
PAGE 4 . 13

2. Screens tend to rip near one end of the stroke. 3. Excessive ink deposit near one end of stroke. 4. Cant set floodbar without ripping mesh. Mesh not parallel to the platen: 1. 2. 3. 4. Registration problems in both directions. Image smearing is commonplace. Need to overdo squeegee pressure. Mesh bursts as well as rips.

Chapter 4

The carriage drive must be parallel to the squeegee edge, which must be parallel to the mesh, which must be parallel to the platen.

Four Parallel Planes

Figure 4.6 This graphically represents the four planes that need to be parallel for proper imaging. The carriage rails must be parallel to the squeegee blade, the screen mesh, and the platen. The platen is the most critical since it will be under all other print heads.

Until parallelism is established between the three planes, there is no reason to try to fine tune any of your process including: squeegee parameters (edge, angle, durometer, speed), mesh parameters (opening, thread diameter, tension), off-contact distance, peel rate and so on. The reason is that you will be trying to hit a moving target. Imagine that the press is perfect and I drop one platen 1/8 inch but maintain its level. To get that platen to print, you will reach with the squeegee and as a result you will run too much pressure on all other platens (by 1/8 inch displacePAGE 4 . 14

ment). If I took only one press head and raised it 1/8 inch maintaining level it would have to reach all but one of the platens by 1/8 inch but one of them would be inch away. That head would rip screens and wouldnt print very well. Imagine if I randomized your heads, carriage drives and platens. One up and angled back, one down angled side to side and no two the same? This describes a press that has been continually adjusted and never reset to a home position. If you have a need to improve the quality of your images, need to reduce rejection or need to print faster, then it may be time for you to characterize and then custom calibrate your press. How to Calibrate A Press You will need the following tools to calibrate the press: 1. 2. 3. 4. 5. 6. 7. 8. One perfectly flat tensioned screen frame. One perfectly flat open screen frame. Shim stock to match your off-contact distance. Or an off-contact meter. At least one torpedo level (two is preferable). Two 9/16-inch and two 3/4-inch open-end wrenches. Two 15/16-inch open-end wrenches. Two 1 1/8-inch open-end wrenches.

Press Calibration
Knowing When To Calibrate The Press
1. Check weekly with the flood bar test for press head and platen calibration. 2. If the press has been tampered with it will need recalibration. 3. If the press is not returned to home position. 4. If the press is not performing properly: a. Screens rip prematurely. b. Ink build-up is a problem. c. Ink deposit is inconsistantfrom point-to-point on the shirt and shirt-toshirt on the press run. d. Registration is lost during a press run. 5. If your conditions are radically changed. 6. If you need to constantly adjust squeegee blades, angles, pressures and speeds to get a quality print. 7. Once every three months. Neither the Gauntlet nor the Challenger drift. If they appear to, either your calibration procedure is ineffective or someone is changing the adjustments.

c Double-check the center shaft.

1. Find a perfectly flat platen- no crown or dish.

Figure 4.7 This shows a level placed diagonally on the platen and the user looks for a gap in the middle of the level, indicating a dish or if the platen is crowned, the level will rock end to end. We are not looking for level at this time. For your number one platen it is imperative that the surface be perfectly flat. Use the level at this angle and then on the opposite diagonal. If your press is old, and excessive heat is typical of your shop, you may want to resurface one platen or order a new platen from the factory, either way it must be flat.

PAGE 4 . 15

Tips For Press Calibration

Follow these steps to simplify press calibration: 1. The threads of the bolts for platen height adjustment as well as off-contact distance are 16 tpi. That means that one complete turn of the knob or nut on the bolt will move the part 1/16th of an inch or 60 mils (0.060). So if you need to adjust a platen or a screen holder 60 thousandths, simply turn the nut or knob from 12 oclock until 12 oclock again one complete revolution, you will have moved 60 mils. 2. If you have a relatively high quality bubble level, it may be capable of much more accuracy than you think. The bubble is to be centered between the lines right? Not specifically, the bubble is to be centered between the lines on the backside of the tube. Look closely there are rings that run completely around the tube containing the bubble. For you to center the bubble between the back side of the rings, you will have to be directly in front of the level. The degree of error is negligible if you use this proper technique. 3. When you have set the platen or screen holders and it is time to tighten them in position, you want to do just that dont alter the position. The technique is simple. For the platens, hand tighten gently and then use two open end wrenches and simultaneously turn them to a center point. With the offcontact knobs, turn each indePAGE 4 . 16

2. Mark the platen and the press arm #1; always return this platen to this arm. 3. Level the platen front to rear and side-to-side.

Chapter 4

Figure 4.8 This shows the torpedo level running in the front to rear direction in 6.8a and side to side in figure 6.8b. Both directions must be level at this time.

4. With level centered front to rear, rotate platen to 12, 3, 6 and 9 oclock. 5. Check level at all four directions for plumb of the center shaft. 6. If shaft appears out, use a torpedo level on the center shaft. 7. Check all four sides of the shaft for plumb. 8. If it reads similarly, the indexer may need to be leveled. Please notify M&R at this time.
Prepare the press.

9. Clean all platens.

Press Calibration
Figure 4.9 This is a reminder that all of the platens must be cleaned and freeof adhesive and lint before you attempt to calibrate the press.

Tips For Press Calibration Continued

pendently gently until snug and then turn both knobs at the same time to the center point. 4. You will want to use an offcontact meter to get your press calibrated accurately. Coins, washers and the touch and go method do not work as well. But if you have all of the speed, quality and mesh life you want, it may be good enough for your purposes. 5. When you are calibrating your press, work with a friend and so that you can stay friends, use common terminology: front, read, side, left, right, tighten etc. And remember: righty tighty, lefty - loosey. 7. You will need two 9/16 and one open end wrenches. You will need a 30 standard shop bubble level and one or two torpedo levels. To hold the level and off-contact gauge you will need two C clamps with a 6 throat. Figure 4.10a and 4.10b These photos show the operator applying pallet peel and using a razor knife to trim the excess material. When complete any excess can be folded underneath the platen so there are no adhesive areas or loose corners to be caught by the shirt. 8. Once you calibrate your press, particularly if it is the first time you will want to enjoy a sharp squeegee blade. Use a squeegee sharpener that holds the blade during the sharpening and never use a new blade until it is sharpened.

10. Apply peel to the surface of all cleaned platens.

11. Remove all dirty screens and blades from the press. 12. Be certain that the screen holders are clean and free of tape etc.

PAGE 4 . 17

Chapter 4
Screen Holders
Figure 4.11 This shows the front and rear screen holders and that they are both clear of any debris, tape or adhesive. Anything sitting on the screen holder will skew the results.

13. Tighten the platen locks below each platen. 14. Pneumatic Presses: Disconnect the airlines to the stroke cylinder. 15. AC presses: Disconnect the electrical or disable the electric in the MTA.

Figure 4.12 This shows the yellow locking handles located on the underside of each platen. Be sure that these are tightly clamped and holding the platen securely.

16. Be sure that the carriages glide smoothly over the platenspallet peel helps.
Set Carriage To Platen Position

17. Possibilities (first insure platens are level):

Figure 4.13 At the point of installation, leveling the carriage is done automatically but if you are calibrating, you must be certain that the carriage (which drives the course of the squeegee and floodbar) runs parallel to the plane of the mesh as well as the plane of the platen. Whether your press has rails or drill rods, a magnetic bubble level works well. PAGE 4 . 18

Press Calibration
a. Carriage drive and platen are parallel - no adjustment required. b. Floodbar / platen separate in the front - adjust head support legs. c. Floodbar / platen separate at rear - adjust indexer downward. d. Floodbar / platen separate 1 side front or rear - adjust Tol-o-matic.

Set Squeegee Stroke Length At Maximum

Figure 4.14 This shows the stroke length adjustments on a Challenger II press. The proximity switches sense the presence of the carriage and are infinitely adjustable with in the stroke limits. For calibration purposes, run the longest stroke length possible.

18. Check level of carriage rail or drill rod(s) on all heads. a. All are high in frontdrop support legs (not on Gauntlets). b. All are high in reardrop indexer. c. One is high in frontdrop support legs on Challenger. (Shim Gauntlet) d. One is high in rearraise support legs on Challenger. (Shim Gauntlet) 19. Select a level head and make it number one.
Figure 4.15 This shows the floodbar in position to test the parallelism of the platens. This test should be run in sequence here for the calibration process. It should also be run at the weeks end to check for any inconsistencies between platen settings and carriage drives. PAGE 4 . 19

Use Floodbar To Check Consistent Platen Height

20. Insert a flood bar on the squeegee bar in press-head number 1. 21. Set the stroke length at maximum. 22. Raise the carousel. 23. Lower the flood bar to barely in contact with platen number 1. 24. Manually push carriage front to rear to check for parallelism. 25. Remove floodbar.
Set Screen Holders Level

Chapter 4

26. Place tensioned screen in screen holders do not clamp screen in. 27. The screen must be perfectly flat. 28. Place torpedo level front to rear on screen mesh. 29. Adjust screen holders until mesh reads level.
Figure 4.16a This shows the torpedo level on the mesh checking the level front to rear. Set this direction to level before setting the side-to-side. Before locking screen into place, be certain that the screen is flat on both the front and rear holders.

30. Place level side to side and adjust until mesh reads level.
Figure 4.16 b This shows the torpedo level set to check the side-to-side level of the mesh. Side-to-side level should be set after front-to-rear level.

PAGE 4 . 20

31. Recheck sides adjust if needed. 32. Recheck sided to side.

Press Calibration
Figure 4.17a If the screen is racked (not flat) or the screen holders are not perfectly on the same plane or if both conditions exist, there will be a proportional change in screen tension. This happens if the frame is twisted into fitting into the holders. As the tension goes up in one area, it will go down in another and this leads to severe tension loss during a press run.

33. Once level check for gaps between screen and either holder. 34. Adjust holders to eliminate gap. 35. Recheck level both directions. 36. Use a tension meter to see a change if holders or frame are racked.

Figure 4.17b Shows the meter at the corner of the screen for a before and after test. Lay the screen into the screen holders, measure the tension, clamp the screen into position and take another measurement. If there is a tension shift, the worst location for change will be at the corners. Try this on all four corners if you suspect that the planes of the screen and the screen holders are not parallel.

C Set The Off-Contact Distance

37. If you will use shims read on. If you will use a meter see step 38a below.
PAGE 4 . 21

38. Insert a tensioned screen in head one.

Chapter 4

39. Refer to the table on off-contact distance (page 4.9). 40. 3/32-inch (0.093) is typical for 20 30 N/cm screens. 41. Place four shims 1.5-inches from each corner of the platen. 42. Move platen one into position under head one. 43. Raise the carousel and feel for the shims under the mesh. 44. Adjust head until four shims touch the mesh without protruding. 45. Use the threaded rod adjustments on the frame holders.
Figure 4.18 This shows the rear screen holders threaded rods used to adjust the off-contact distance. There is a similar pair for the adjustment of the front screen holder. The rear holder should be off of the platen when its height and level are set.

Threaded Shafts

46. Engage the front and rear screen clamps to check your accuracy. 47. There should be a dull thud, no frame ringing or movement. 48. Once you have set the height, securely tighten the jam nuts.
Complete Head And Platen Settings

49. Repeat steps 19 to 35 for all heads. 50. Reinsert flood bar as in head 1, and check parallelism of platen to carriage. 51. Readjust heads if needed. 52. Check with flood bar weekly.
C Set The Off-Contact Distance Using A Meter

38a. Set central off-contact at its highest position. 39a. Refer to figures 4.4 and 4.5 for off-contact distance.
PAGE 4 . 22

40a. Use off-contact meter to set off-contact distance.

Press Calibration
Of f-Contact Me t er
An off-contact meter is a simple device that allows very accurate settings of the screens and platens. To determine if you should use a meter you must characterize your operation and current conditions versus the time invested in custom tuning the press. You can best gauge the need by appraising the number of ripped screens, the interruptive downtime that occurs, the frequency of troublesome platens or heads that just dont print the same as the rest. Figure 4.19 This shows the Challenger II head with a frame, level and off-contact meter. The meter should be located over a center spot on the mesh, marked with an ink pen for accurate relocation once the meter is moved. Coins and washers have been used for years and even those printers might get good prints but they will not be as accurate as those who meter the results. The industry used to use coins to check the tension of the screenssome still do! There are four types of meters: analog dial indicators (as shown), digital dial indicators and electronic position meters. These are listed as to price with the electronic meters as the most costly. Before you choose one be sure that it fits the level of technical accuracy of the balance of your process and beware that it takes more time to custom calibrate with a meter than with washers or coins, but if your needs are high, you will be glad that you took the time.

41a. Use a Sharpie marker to mark the center of the mesh. 42a. Place meter on center mark.

43a.

Raise or lower screen to the required distance.

44a. One complete revolution on the bolts = 0.060. 45a. Recheck level of screen. 46a. Repeat off-contact setting and leveling if necessary.

Figure 4.20 This is a photo of the off-contact meter clamped into position. The meter is set to zero; the top of the dial indicator is depressed until the mesh reaches the platen. The difference in the zero setting and the new distance is the off-contact distance. PAGE 4 . 23

47a. Now set the platen height and level.

Chapter 4

48a. Adjust the height of platen number one to the preferred distance. 49a. Now reset its level, front to rear and side-to-side. 50a. Recheck its height once again and adjust if needed. If the height is moved, you must recheck the level. 51a. Repeat this process until the height is correct and the platen is level.
Check Platen Height

Once all platens are leveled use the following procedure to check the results. 52a. Remove off-contact meter and tensioned screen.
Figure 4.21 Before you proceed to set the platen height remove the tensioned screen and meter from the press. You will need the screen later and the meter immediately following this step.

53a. Insert flat open screen and replace meter.

Figure 4.22 This is a shot of an open screen without mesh. The screen must be flat and is used to set the precise height of the platens. Put a mark on the platen center for reference. Insert the screen and meter, clamp both into position. Raise the needle of the meter and then raise the platens. Let the needle go and read the distance

PAGE 4 . 24

Press Calibration
54a. Measure the distance to platen 1 and record it. 55a. Check to see that all platens are at the same height and level.
Figure 4.23 This shows the technician adjusting the level and height of the platen from the underside. It is best to adjust side-toside level and then to set the height with the front to rear adjustment.

56a. Remove open screen and meter. 57a. Reinsert flood bar as before and check parallelism of platen to carriage. 58a. Readjust platens if needed.

Squeegee Blade
The squeegee blade tends to be under estimated and over worked. It has the ability to control the quality of the print if the operator accurately interprets the conditions on press. All too often it gets folded in half due to a lack of press calibration, small side ink wells and a very large dose of force. Perhaps you have noticed that the same blades that you used to use on your manual press dont work as well on an automaticif so there are good reasons: 1. 2. 3. 4. 5. 6. The press does not get tired. The press is insensitive to blade flexure. There is no too little pressure. The press may be out of calibration. The inkwells are (generally) smaller. There is no prescription for selecting or setting the blade.

It is these six points that we will address in this chapter. The finesse of a manual printer is at times that of an artist or craftsman but the forte of an automatic is high-speed replication of any image that has been well engineered. The variables
PAGE 4 . 25

and parameters of the squeegee are at the core of this engineering and that is our focus here. Purpose The purpose of the squeegee blade is to: 1. 2. 3. 4. 5. Contact mesh to platen. Develop constant pressure across mesh. Inject ink into mesh openings. Clean residual ink from mesh surface without leaving ink trails. Apply zero force on the platen.

Chapter 4

2 3

1 Illustrated Model Of Squeegee Blade

Figure 4.24 This is a model of the elements listed above as the purpose of the squeegee blade. The explanations for these facets of the blade function follow.

1. Contact mesh to platen this always happens or the ink would not transfer through the mesh and onto the garment. However it is a prerequisite for the squeegee. Not only should the blade contact the mesh to the platen but also it should do so consistently from end to midpoint of the blade. 2. Develop constant pressure across mesh this one rarely happens particularly with a large squeegee on a screen with a small ink well or on an uncalibrated
PAGE 4 . 26

press. This pressure variance is the cause of a lot of problems, ink deposit, ripped screens and image distortion.

Press Calibration

3. Inject ink into mesh openings if numbers one and two in this list occur then you will be injecting the ink into the mesh openings as opposed to wiping the edge of the blade onto the rim of the mesh. The blade must exert enough shear stress on the ink to drop its viscosity sufficiently to cause it to flow through the tunnel of the mesh. 4. Clean residual ink from mesh surface without leaving ink trails this facet insures that the blade is not hydroplaning across the ink surface but rather coming into intimate contact with the surface of the mesh. Also that the edge of the blade fits the surface of the mesh well enough to keep all ink in front of the blade. 5. Apply zero force on the platen this is the ideal setting. If the blade does not deflect initially (under the load of the mesh) and the ink well is large enough, it is possible to achieve the setting. The balance between blade pressures, mesh tension and off-contact distance must all be accurately set. To achieve the five goals requires that the blade be selected with the process limitations in mind. To assist you in the selection we have detailed the facets of the blade in the next paragraphs. Have Enough Blades On Hand Too many printers have only one set of squeegees, just like an auto mechanic having only one wrench in his toolbox, a -inch open-end wrench. And then insisting Ill make it fit all the nuts and bolts in your car. When he needs a inch wrench he angles the inch very steep. For the time he needs a 9/16 he applies more force to the half-inch wrench. He goes slowly and turns twice as much when he needs a 3/8-inch open end and speeds up and grinds some off the edge for a inch nut. Of course this is ridiculous but in our case because we can force the fit, we tend to ignore the fit of the blade to meet the needs of the set-up and the demands of the print. The mechanic that we would allow to work on our car selects the proper tool for the job and on press, you should do the same by having adequate blades and holders. To allow quick set-ups and optimal print results with a selection of blade length (refer to page 4.29) you should have a back up set or two. It is always wise to use the shortest blade length possible. There may come a time when you need to dress the edge of the blade, sharp or dull to accommodate your ink deposit. But
PAGE 4 . 27

The Ideal Scenario

The blade comes into contact with the mesh and continues to push the mesh to the plane of the platen without [the blade] deflecting. At the point that the mesh contacts the platen, the pressure injects the ink into the mesh openings. The pressure between the blade and the mesh is equal across their interface and the force of the blade on the platen is zero. It is this condition that we strive for but if you are still striving for this condition you must first have many other aspects into calibration. Of course the press must have the three critical planes parallel to each other: the platens, the carriage drives and the screen holders (refer to page 4.15 for details). The tension and the off-contact must combine to create consistent pressure at all points where the blade and the mesh come into contact (refer to page 4.38 for details). The ink should have a low tack level and be very shear thinning (refer to page 3.30 for details). Such a scenario will allow you to run hassle free at top press speeds with a minimum of downtime. Each shirt would be a carboncopy of any other and the quality opportunities would meet the most demanding job. If you are still searching for this setting, study this chapter but only after Chapters 1, 2, 3 and 4.

never have the press waiting while you cut the length or dress the edge of a blade. If your press is reasonably calibrated you will find that a set of seventy durometer blades and a set of eighties will suffice for all of your needs. These three factors, length, edge and durometer indicate that you should have several back-up blades. Keep in mind that if you continually switch out polyurethane blades in the holders, you should sharpen the blade prior to use at every change. Characteristics Of The Original Blade

Chapter 4

We caution you to not confuse the concept of a recipe and its ingredients when selecting a squeegee blade. The component parts of the blade all interrelate and taken out of the context of your printing environment, they are relatively meaningless. For example if you are preoccupied with durometer and insist on a 65 blade you might consider the following: what you are probably looking for is the proper flexure of the blade and not its durometer. Flexure is comprised of the unsupported height (out of the squeegee holder), the thickness, the shape of the blade and oh yes, the durometer. We will define the parameters of the blade and then offer a method of evaluation, selection and usage of the squeegee. Characteristics of the Original Blade is the first of three categories which includes Prepared to Print and On-Press Performance. Durometer is the measure of hardness of the blade. Durometer is often but incorrectly viewed as the single influence of the blades tendency to deflect. Durometer is very significant but as a singular predictor of blade performance, it is totally inadequate. This general grade of polyurethane is gauged on a Shore A scale developed to measure plastics of this range of hardness. The scale runs to 100 at that point the blade would be so hard that another index or standard would be needed to measure its hardness. Most screen-printing is done with single durometer blades between 65 and 80 durometer, the higher the number the harder the material. With high tack plastisols, small inkwells and the multi-color

PAGE 4 . 28

presses that characterize the tee shirt printer, higher durometer (80) blades are very popular particularly for highly detailed printing such as four-color process. In the case of white ink (all else being held constant) a softer 70 deflects more readily and applies more pressure to the ink, which increases deposit and therefore opacity.

Press Calibration

Age, use, sharpening and labeling all have a serious impact on the durometer of the blade. The first three factors cause an increase in the durometer of the blade versus its original manufactured and aged hardness. The last factor, labeling includes variability from batch to batch and any initial aging after the measurement was taken. Some of the manufacturers have a tolerance of three up and two down. That means that your 70 durometer blade may be between 68 and 73 hardness. Without someone, you or your supplier measuring the blade prior to use, there is no way to tell the precise durometer.

Radiused Ends

Length
Figure 4.25 This shows the front view of an M&R Squeegee with blade. The length is indicated on the illustration and note that the edges are radiused. This is a cost effective step to buffer the tension increase at the end of the blade, nearest the edges of the mesh. The worst case is if the blade is a short height, high durometer its sharp ends will rapidly rip the mesh. The length affects the ink well, which in most tee shirt printing applications is too small to begin with.

Length is the measure of the blade from end to end. A typical tee shirt blade is 16 inches to 20 inches in length. This facet of the blade is grossly overlooked and it affects downtime more than any other aspect of the blade. The blade is never too short or the entire image would not print at the edges, so it is always too long, it is simply a matter of how much too long. To buffer the affect on the mesh you will want to radius the ends with a grinding wheel. The goal of this exercise is to increase the area of the blade in contact with the edges of the mesh. The length should be a nominal inch longer than the width of the image. Shorter becomes impractical and gets dangerously close to the edges of the image. A longer blade eats up the ink well, forces more blade pressure, prints less consistently and wears out the mesh sooner. To accommodate a longer blade can
PAGE 4 . 29

be impractical. The options are to increase frame size or to increase tension and reduce the off-contact distance. For real world usage, standardize a length for the largest image you will run on a given frame size, then calibrate for those conditions. When you use a shorter blade, the benefits will be greater both in production as well as in quality. It can be used with less pressure and will print more consistently from end to mid-point.
Figure 4.26 This Thickness the standard figure shows the thickblade for the tee shirt printer ness of the blade. is 3/8 inch (0.375) thick. Thickness in most This dimension is more evographics applications is 0.375 or 3/8-inch. A lutionary than thicker dimension will revolutionaryit just evolved change the flexure of Blade as user friendly. For example the blade thicker will Thickness flex less. at half the thickness, a 3/16 inch blade would have to be extremely hard or unrealistically short to resist buckling under a normal load. Such a blade would be nearly impossible to set on a multicolor press and by now the 3/8 inch size is the de facto standard. A considerably thicker blade would use more polyurethane and at a given durometer and unsupported height could be deemed inflexible. In addition a thicker blade would not fit all the holders in the market place. And a blade that is simply thicker presents no advantages to warrant a new holder. Even the laminated blades conform to the 3/8-inch profile.

Chapter 4

Height most of the blades in the tee shirt printing industry are cut or cast to 2-inch height. With the Gauntlet or Challenger squeegee holders, you are clamping inch in the aluminum holder. If your original height differs, consult figure 4.29 on page 4.35. Note that there is no assurance that a blade inserted into a holder is precisely true and straight; it should be sharpened in the holder to be so. Of course as the blade is sharpened the overall height is altered but this aspect is covered in Unsupported Figure 4.27 This illustrates Height (refer to figure the height and the unsupported 6.27).
Unsupported Height
height of the blade. Most of the stock cuts are available in 2-inch original height. The standard unsupported height in the M&R holder is 1.25-inches. A greater unsupported height causes the blade to flex more (refer to figure 4.29 for details.)

Blade Height
PAGE 4 . 30

Shape (illustration) there are a variety of shapes intended to help solve some problems unique to your printing particulars. You should

realize that in order to truly take advantage of the shape and edge of the blade, that your press and screens must be accurately calibrated.

Press Calibration

Particularly given the tee shirt printers coarse meshes, high tensions, small ink wells and multi-colored presses the beveled and chiseled edges wear so fast that you may witness a change in shape even a short press run. In principle they offer advantages but in the real world they are troublesome and too inconsistent. The bull-nosed or total radius blade prints with lower pressure due to its greater contact area but at virtually any initial angle. It has a place with coarser screen mesh and low yield stress inks (refer to figure 1.12 for details). It helps the mesh last forever but all coarser fabrics are durable so this is not necessarily an advantage. For the mainstream tee shirt printer who has evolved to finer detail and screen mesh, this shape has little utility. The square shape is our recommendation as it has enough material at the print edge to last a long time, it allows a variance in deposit with a proportional change in the initial angle and it can be sharp or dull as needed for the widest range of screen mesh at top printing speeds. Construction of squeegee blades fall into two catagories; composites and laminates. Laminated blades are those that are composed of two or more different durometer materials may have some practical applications for the tee shirt printer. If you compare for example a 60/90/60 to a straight 70 blade, the laminate will have superior durability and resistance to swelling. However there is no magic flexibility or super-durometer factor with these blades. In fact their spring rate could be simulated with a single durometer blade. Cast blade edges create a durable edge, which is nice until you sharpen it, unfortunately to have a true edge even a new blade should be sharpened. You dont want to mistake convenience for quality or productivity.

Figure 4.28 Shows the Short Cut squeegee sharpener from Encore Engineering. The shape of blade that we recommend is discussed on page 4.30 and is quite simple. It is a square edge with an edge for finer meshes and the other edge for coarser meshes. There are times when a specific shape can assist in solving a problem but the blade is not often the cause of the problem so lets not make it the solution.

Composite blades have a higher durometer blade that fits into the holder and extends near the substrate while the lower portion is softer and more flexible. The concept is that you can print with the edge of the blade, at the highest pressure without the blade buckling at the ends or on the bed. There are a few conPAGE 4 . 31

Blade Height and Def lection

If you have an adequate inventory of squeegees, the configuration is an option; you wont be forced to run the wrong blade. What constitutes the wrong blade is one of extremes used in a conventional setting. If you are a typical tee shirt printer you will want to avoid the extremes. If the blade is soft below 70 durometer then it should be shimmed or short. If it is long it will simply fold over and force you to run excessive off-contact distance and eventually your mesh will burst in the center. While it is printing it will buckle under the load of the air cylinders and tensioned mesh and your prints will be inconsistent and platen deflection will be very high. You will want to run such a blade very near vertical and it is a delicate balance. If the blade is hard, over 80 durometer then you will not want it to sharpen it too far. The difference in deflection from a 1.25inch to a 1.00-inch blade is a 2:1 ratio. If your blades are getting stubbier, watch out for image stretch and you will definitely want to do two things: run the shorter ones as a group on a particular imagedont mix them up. Second you will want to run them at a more vertical angle. Be sure that the angle is not so steep that it causes positive mesh lag.

siderations if you should choose to use this blade. First it should be kept sharpened and once it has worn too low it should be discarded. It should not be inverted top to bottom in the holder as it will abuse the screens and be difficult to set on press. Second unless you can put a slight radius on one edge, you will probably find that it is best on light colored garments. Third it is made to run well on calibrated presses, the worse your press is the less you will like the composite blade.

Chapter 4

Composition not all polyurethane is created equal and there are a variety of grades, casting methods, aging processes and cutting methods used to manufacture the material. These variables affect its solvent resistance as well as ability to sharpen and hold a sharp edge through abrasion of rough meshes. The knitted tee shirt hides a lot of flaws but remember that when you are printing on an underbase, you are now a vinyl sheet printer and the edge is crucial and its results are obvious. It is wise to shop for the highest quality blade available; it will pay for itself many times over. None of us have troubles with the easy work but when the image becomes very demanding we hope that you have developed proper habits or frustration goes up and profits go down. This is never truer than when at a glance on the press you see the following for a four-color process image: A short, hard blade on the black ink to force it through the screen. A softer blade folded in half to get the white through the thick coarse mesh. Since the yellow is first we ran a shorter squeegee length, about 10-inches. A long stroke is used on all but the one color of the image and a nearly flat blade to pamper the magenta ink-or the image looks to reddish. If the blades are different heights, the pressure on the mesh is radically different. If the angles change, the pressure on the inks differ as well and you may be forced to run an excessive off-contact distance. The black screen will stretch and the yellow wont and there is no way to calibrate a press for these settings. You will see color variance from area to area and certainly from shirt to shirt. You will need to constantly fiddle with the settings because none of these extremes is conducive to consistent printing. Finally if you see registration problems, it

PAGE 4 . 32

is not the press, rather the way it is set-up. If you have ever seen this, read about squeegees. Preparing To Print

Press Calibration

Once you have purchased the blade you will insert it, sharpen it for a true edge and put it into the press. You will set the initial angle and the skew if possible. It is important that you are aware of how these properties interact and that is the goal of this following segment. Unsupported Height as the graph below shows, the change in the unsupported height has a dramatic affect on the deflection of the blade. If you are using a grinding wheel sharpener, small amounts can be removed without a severe change in the height. Pay particular attention if you use a slicing squeegee sharpener, even a 1/16 inch (0.063) slice has a dramatic impact on the deflection of the blade. As the blade becomes shorter, all things held constant you may see the following: 1. 2. 3. 4. 5. 6. Increased screen stretch. Greater fabric fatigue and loss. Reduction in ink deposit. Sharper detail. Greater variance platen to platen. A need to run a shallower angle.

When printing a highly technical job such as four color process, be sure at least that the blades are true and of the same unsupported height and durometer. And they should be the same length, as this will insure the same ink well and squeegee pressure. Also if you are not sharpening your blades, the odds are that you never do have a true edge. The polyurethane never fits quite perfectly and needs to be dressed to have a consistent height. Change in height is one of the main reasons that you have to incessantly adjust the angle of the blade. As it gets shorter, there is reason to run the blade at a shallower angle so that it has a sufficient contact area and the pressure is not too excessive. True Edge a brand new blade should have a true edge but there is no sure way to insert a blade into any squeegee holder and expect it to be straight. Once again look at figure 4.29 and you will see that as the unsupported height changes, the percentage of deflection changes dramatically. And you must use enough pressure to cause the hills and valleys of an untrue blade to conform to the printing surface.
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Chapter 4
Height & Deflection
1.30 1.20 Unsupported Height 1.10 1.00 0.90 0.80 0.70 0.60 0.50 100% 88% 78% 68% 59% 51% 44% 37% 31% 26% 22% 18% 14% 11% Percentage Deflection

9%

6%

Figure 4.29 Shows the relationship between the deflections of a blade that starts out at 1.25 inch unsupported height and the relative deflection as the blade is sharpened or sliced. For example if you are slicing 1/16-inch (0.063) increments the new blade will flex 86% of the original. If you slice another 1/16 inch the blade will only deflect 73% as much as the original. If you thought it didnt matter, it is the same as saying that the durometer doesnt matter.

Once you insert the blade and gently tighten it in position, we recommend a grinding wheel to true the edge. (photo) A few passes of the wheel and the edge is straight and true. It is this step that makes the press calibration, mesh tensioning controls and squeegee settings worthwhile. If you have purchased a molded edge blade your intention is to keep from sharpening but you may find it impractical to insert the blade so that it is true without sharpening.

Initial Angle If you align the pivoting bracket of the Challenger or Gauntlet press vertically, it is easy to set repeatable and to check for consistency (see figure 4.31). This setting puts the blade at an angle of attack of approximately 12. This angle is to be seen as the baseline setting, it can work well for most printing from opaque whites to the finest process color.

Figure 4.30 This is from Encore Engineering and shows the Diamond Maxi squeegee sharpener. We prefer the grinding wheel because it takes off only a small amount of blade per pass. Also it fits our recommendation of different radii on opposed sides of the blade. This technique allows you to quick adapt to fit the mesh you are using and regulate its pressure drop (refer to page 4.37 for details).

You may need to decrease the angle if the fit of ink and mesh is poor. If the ink
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is too thick and tacky, if the mesh geometry restricts the ink flow, if the blade is very rigid or if the tension is too high for the quality of press calibration you may find that you need to run a lower angle. The benchmark for decreasing the angle for existing press conditions is poor transfer or inconsistent prints in sequence. You may need to increase the angle if the flexure of the blade is too high. That includes any combination of excessive unsupported height, low durometer or excessive force (which should not stem from a pneumatic press). The benchmark for an increase for existing press conditions is positive mesh lag (refer to page 4.6 for details).

Press Calibration

This aspect of the squeegee settings is fast and easy to adjust but should not be overdone. It can be used as a correct all for a variety of problems in screen and ink areas. Remember that if the ink or screens are broken and you choose to fix them with the squeegee, there is always a trade off. It may be in speed, screen life, print quality but the price will be paid. Better to use the angle adjustment to get through the job on press and then address the real problem.
Figure 4.31 This llustrates a side view of a squeegee and floodbar and their relative positions. The floodbar is set at a 90 angle and the squeegee is set at a 75 angle. The only reason you should ever move the angle of the floodbar is to alter the size of the ink well (between blades) or to accommodate small screens (which we never recommendrefer to page 1.22 for details). This squeegee (from a Challenger II press) is shown at an initial 75 angle and it serves as a good standard. As the angle of the blade is reduced, the pressure on the ink increases, the pressure on the mesh and the platen drop.

75 Angle

90 Angle

Skew this is a feature popular on our graphics presses that serves to alter the pressure drop of the mesh as the squeegee passes over. The blade runs substantially parallel and perpendicular to the screen mesh which is stretched straight on the frame. As the squeegee passes over the mesh it hits the parallel threads like your tires pass over a speed bump. But now address the speed bump from an angle; the passage is mild in comparison. This change in the pressure drop (refer to page 1.14 for details) allows you to adjust the amount of ink without altering image registration or squeegee pressure. It is omitted from tee shirt presses due
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to size restrictions and the degree of skewing required having a significant affect on the image. On Press Performance

Chapter 4

Deflected Angle because the blade is flexible under the load of the press, it bends when it hits the rigid surface. This bending occurs lower, closer to the platen with a more pliable blade. The softer blade creates more of an arc and the harder blade creates more of an angle which occurs closer to the squeegee holder. Further under a fixed amount of force as the initial angle is set lower, the deflected angle becomes incrementally lower as a factor of the initial angle. For example if a 75 initial angle causes the blade to deflect to 65 there is a 10 difference. Now take the initial angle to 70 and the deflected angle may become 55 or 15 less than the initial angle. As the initial angle drops the difference becomes greater.
Figure 4.32 Shows the no-tools adjustment of the squeegee and floodbar angles. If you need a lot more inkwell and have an adequate screen frame size refer to page 1.14 for details. Note that a change in angle alters the relative pressure of the blades on the mesh. Before you adjust angle, first estimate the impact that the change will have on the pressure of the blade on the mesh and compensate for it. Then make your angular adjustment and recheck the pressure. For example if you want to raise your squeegee angle because you have witnessed positive mesh lag (refer to page 4.6 for details.) first raise the blade. Then adjust the angle and then balance the pressure. This approach to squeegee and floodbar settings will save you a lot of ripped screen mesh.

Squeegee Folldbar Angle Adjustment

It is this final (deflected) angle that applies pressure on the ink. A blade that is soft must run at a more vertical angle or it will buckle under the load of the air cylinders. The deflected angle of a more rigid blade will tend to more closely approximate the initial angle setting. The purpose of the angle is to apply enough pressure to the ink to inject it into the mesh openings. If the angle is too high the blade wont apply sufficient force to the ink and a lower angle wont allow zero mesh lag.
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Edge If you are not accustomed to sharpening your blades you should take advantage of a better blade for control of coverage and image accuracy. Sharpening is the term used but perhaps dressing is more accurate. Some sharpeners allow you to select the edge that you want on the blade on one side or another. The knit shirt is very forgiving but if you print and flash you have just become a vinyl sheet printer. Technically the flaws occur when printing directly on the garment but if you cant see them then who cares? but printing on the plastisol underbase is a different story.

Press Calibration

You may want to prepare your blades with one sharp edge and the other dull for controlled ink deposits on the widest range of mesh counts at highest blade speeds. In the interest of making an invulnerable blade, some manufacturers have overlooked the need to dress the blade. The solvent resistance can be so high that sharpening causes the blade to fracture or crumble. Such blades are not needed for plastisols printing and their benefits area outweighed by their resistance to sharpening. A sharp blade is recommended for 160 meshes (per inch) and higher. It offers highest pressure on the mesh and permits image control and the application of ink pressure by angling. For the highest resolution and edge acuity a sharp (and straight) edge is imperative. You will find that this edge more so than the others, requires a calibrated press. AS the counts get higher say in the 420 and 460 area, blade sharpness becomes even more critical. A dull blade is recommended for 85 to 150 mesh counts. The sharp edge either creates a serious pressure drop or forces too much contact area between the blade and the mesh. The radius blade edge will hydroplane and fail to clear the mesh on this range of counts. A radius blade is recommended for 85 meshes and lower will allow you to reduce the pressure drop characteristic of the screen mesh without running at a skewed angle. This in turn will give you a greater ink deposit and we presume that deposit is why you are on such a coarse mesh. Further the radius will permit higher speeds at lower pressures. Angling this blade will increase pressure on the ink but in reasonable doses angling will have little affect on the pressure on the mesh. You will find that with a low yield stress ink (refer to page 3.14) you can run much faster with this type of edge. As the edge distance increases the time of pressure applied to the ink increases proportionally at a fixed velocity. And additional time is required on these coarser mesh counts. Flexure is the facet most people want to know when they say durometer.
PAGE 4 . 37

This is the tendency of the blade to buckle or deflect under a given force. It is a composite of the durometer, the physical dimensions, the edge and the shape of the blade. A 3/8 inch thick, shorter than 1.25 inches, high durometer (over 75) blade with a square shape and a radius edge would have the lowest tendency to flex.

Chapter 4

There are three distinct possibilities of blade flex that should be understood; first the blade is high flexure (it flexes very easily) this one will buckle at the ends and deflect to a lesser extent at the mid point. Second is the other extreme, a low flexure (very rigid) blade that does not deflect against the mesh or on the platen. Third is a medium flexure blade, which does not deflect against the mesh but deflects a controllable amount as the mesh reaches the platen. This third possibility is our goal. It is incumbent upon the print engineer to select the proper ingredients that will provide the proper flexure for the productivity, press conditions and image needs. Our instructions are here within and our recommendations are below. Buckling is a result of the mesh overpowering the blade and is typical in setups where the screen tension is very high. Instead of simply deflecting, the blade buckles at its ends near the perimeter of the frame. Buckling causes a greater contact area at the ends of the blade than in the center. The effect of buckling must be negated in order to have a print that is consistent edge to edge. Unfortunately the result is that the blade is deflected evenly on the press bed and this factor is death on screen life. This is why you must be certain that the blade is centered left to right on the frame. There should be neither buckling nor deflection as the blade pushes the mesh to the substrate. Pressure there has been a lot of confusion as to the cause and effect of pressure on the squeegee blade. First of all the press applies force in pounds pressure is that force applied to a specific area. If the pounds were applied to a square inch then a force of 178 pounds would be equal to 178 psi (pounds per square inch). But if the area was doubled to two square inches then 178 pounds of force would be distributed over twice the area and the pressure would be 89 psi. When the blade deflects, the contact area is increased and since the area goes upthe pressure goes down. It is far preferable to run a more rigid blade at a lower angle (if necessary for high ink tack), than to run a more flexible blade with excessive deflection. On press, there are only three pressure possibilities: too little (which never happens or the ink wont go through), perfect (please!), and too much (which is always the casebest avoid too much squeegee pressure).
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In the real world we moniEliminating Pressure tored a specific setting to verOn The Platen ify that the pressure can not only be reduced but in fact can run very low at high proEliminate pressure on the platen by following these steps: duction speeds. The job was 120-line (per inch) four-color 1. Calibrate the press. process on black tees. A cus2. Set off-contact based on image tolerance. tom calibrated Challenger 3. Set the tension level based on off-contact distance. press with 25 N/cm screens, the blade ran at least 24 inch4. Use ink with a low tack level. es per second, 80 durometer 5. Select a blade that shows no primary deflection. square sharp blades at 1.125inches unsupported height, 6. Set pressure on Challenger II if available. initial angle of 75 from verti7. Angle blade to absorb additional pressure if needed. cal, 0.082 off-contact dis8. Select ink with a low tack level. tance and a 3-inch inkwell ran at 775 pieces per hour with9. Monitor results by observing for positive mesh lag. out incident. The underbase white was flashed at 950 F. with a panel height of 3/8inch. The part that may interest you is that the force on the squeegee was a mere 30-PSI. The press calibration techniques, blade selection and settings as well as screen and stencil specifications are all detailed in this manual. The actual print is shown on page 3.18.

Press Calibration
How To Instructions

There are several areas where pressure is a significant factor in the printed result: pressure on the ink, pressure on the mesh and pressure on the platen. M&R presses control squeegee pressure pneumaticallywith air pressure. Since air is elastic, it senses any variability in resistance from the mesh and the platen. This makes the blade quite easy to set, it is forgiving but for the highest quality and highest speed printing, you will need to properly set the screen, press and blade. Detailed explanations of these three facets of pressure follow. Pressure on the ink is a function of squeegee speed and the deflected angle of the blade. This pressure serves to reduce the inks viscosity and inject ink into the mesh openings. As the blade speed is increased the pressure on the ink is higher and depending on the ink speed may alter the deposit or not but nonetheless the pressure is increased. As the angle of the blade is lowered the pressure on the ink increases rapidly once the ink transfer is total and the coverPAGE 4 . 39

age sufficient, any more angle is detrimental. It will lead to excessive deposits, positive mesh lag and loss of edge acuity. You will find that for high tack level inks it is necessary to angle the blade just to get a proportional drop in the viscosity and allow the ink to transfer. The proper remedy is not angle or blade pressure on the ink but to fix the ink itself. Pressure on the mesh, at the point that the mesh contacts the platen, is a function of the blade flexure, the offcontact distance, and screen tension and ink well size. Also known as contact pressure, it serves to create a consistent deposit both side to side, over the stroke length and for successive prints. You will have troubles with inconsistent contact pressure if and when you have a high angle blade, high tensioned mesh with a small inkwell, printing on an uncalibrated press.

Chapter 4

75 Squeegee Angle
Figure 4.33 This illustrates the squeegee angle on a Challenger II press set at a 75 angle. If the angle is to be adjusted lower, there are two constraints, do not encourage positive mesh lag, and do not trigger primary blade deflection. Otherwise a lower angle will increase the shear rate on the ink, reduce the pressure on the mesh and reduce the pressure on the platen. Note: air pressure regulators and gauges are optional on all M&R presses.

Increased Pressure On Mesh

Figure 4.34 This illustrates the increase in pressure between an un-deflected blade and the screen mesh. Even if the tension is precisely consistent across the surface of the mesh in its static state, the increase is greater nearest the ends of the blade and the edges of the mesh. We recommend a radiused blade end to buffer the peaks of pressure increase but even they will not eliminate the variance.

Position On Screen
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You will have troubles with low contact pressure if and when you have high squeegee force (pounds), a soft, tall blade, low screen tension and excessive offcontact distance. This blade would fold over and the contact area would be greater so the pressure (force over area) would be lessened. Ink transfer will be poor in the central areas as well as at the edges of the image.

Press Calibration

You will want to run high contact pressure and the best approach would be a 10 to 15 near vertical angle 1.25-inch blade height maximum a 70 to 80 durometer, 3/8 inch thick blade with a square, sharp edge, as large an inkwell as possible on a sufficiently tensioned screen with proper off-contact on a calibrated press. This squeegee blade would not deflect until the mesh reached the platen and provide a minimum area of contact and therefore the highest pressure. Pressure on the platen is a result of one or more problematic settings or conditions. It causes excessive changeover to clean the platens or to remask. It causes the loss of table adhesive due to the same ink build up. It wears out the screen and causes bursting in the center of the mesh. It causes a loss of opacity on darks and smearing and blurring when printing on a flashed under base. If there is primary deflection where the blade deflects before it reaches the platen, the contact area will most often be irregular. There will be more contact area at the edges of the mesh. Finally this pressure imbalance will be remedied by the continued folding of the blade even further on the platen. If the press is not calibrated, excessive platen force is guaranteed.

Side Inkwell

Endpoints

Midpoint

Mesh

Figure 4.35 This illustrates the need to create pressure between the midpoint of the blade and the screen mesh often leads to unwanted pressure on the platen. If there is primary deflection (before the blade and mesh have reached the platen) there will be an inevitable need to deflect the blade further on the platen. This is necessary to make the contact edge of the blade consistent across the surface of the mesh. Otherwise the deposit will be inconsistent.

Challenger II has a pressure gauge so that you can prevent this occurrence. The stock pressure on a Challenger at line pressure is 178 pounds. It is most often
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Tips On Squeegee Blade Selection

Look for the following characteristics when selecting your squeegee blade: 1. Polyurethane for resistance to wear, ink and wash-up. 2. 70 to 80 durometer depending on ink pressure needed. 3. Square profile, 3/8-inch X 2inch, with a 1.25-inch unsupported height.. 4. Edge should match the mesh used. The coarser the mesh the larger the radius. 5. Aproximately 1.00-inch longer than the maximune image width. In addition for process printing: 1. 80 durometer. 2. 3/8-inch X 2-inch with a 1.00inch unsupported height.. 3. 10 to 15 angle 4. All blades the same height and length. 5. Set all blades at same pressure with optional air regulators.. 6. 20-inches per second speed. Do the following to prepare your squeegee blade: 1. Sharpened before use for a true edge. 2. Ideally prepare an identical set of back-up blades for your press run.

necessary and depends on your ink well size, tension level and off-contact distance. Particularly with high tensioned mesh, uncalibrated presses and small inkwells, the high force is necessary to get the edge of the mesh into contact with the platen. (The center of the mesh follows accordingly but the force is needed at the end of the blade and the edge of the mesh.) By applying the details in this manual you can dramatically reduce the force on the blade and enjoy extended screen life, sharper quality printing at higher speeds. Whenever you adjust pressure or make any other squeegee adjustment, be sure that you have checked the new position on a few platens particularly if your system is not in calibration. A calibrated system includes: screens of the same relative tension, blades of the same flexure (height, length, shape and durometer) and a press that has been set according to the instructions on page 4.15. Squeegee blade pressure on the platens causes all sorts of problems. First since the garments are mostly air space, it causes seepage and puts ink on the platen where you will have unnecessary downtime to clean it up. Simultaneously it ruins the effect of the table adhesive which causes rejects and slows productivity. Since it is driving the ink into the garment you will see less opacity on dark garments. More subtly it the major reason that screen mesh bursts in the center of the screen. The cost of this downtime mid-run is staggering. Meanwhile such a setting causes image stretch in the print direction. You can witness smearing and blurring on the far side of the image as the squeegee passes. Along with these maladies you will find that overprint colors mottle and your ink build-up is worse in the center of the screen. The pressure from the blade should be no higher than the pressure from the tension and off-contact at the edges of the mesh and the end of the blade. Until you fix the problem you cant be sure if it is the ink. The SolutionNot The Problem Although the squeegee may not be the cause of all the problems that it is asked to resolve, it is the tool of the moment on press, so we will help you adjust accordingly.

Chapter 4

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1. Compensate for positive mesh lag. The real way to fix the problem is to reduce the ink tack, increase the off-contact distance or increase the screen tension but for the moment, raise the blade slightly, make the angle more vertical and increase the speed. Be cautious if your press is not calibrated the blade may not print on all platens. The contact area was too great and the ink is recovering its body before the blade passes.

Press Calibration
Verification
Once a week or so you might want to perform the following procedure, so that you can verify press calibration and to bring your press heads back into a home position. Remove screens and flood bars and start with clean platens preferably covered with peel. Load your standard size squeegee into the first press head, raise the platens and stop the blade at midway through the print stroke. You may have to raise the blade so there is some clearance between the blade and the platen. Use a business card as a feeler gauge sliding it left to right under the blade and set the blade position so that the drag on the card is consistent from edge to edge. If you are in doubt as to parallel settings between the carriage and the platen then position the blade at both front and rear of the stroke. Be sure that the drag on the blade is consistent from side to side at all three positions front, middle and rear of the platen. You can perform the same feeler gauge test with a screen and flood bar. This test will verify parallelism between the carriage and the screen holders or surface of the mesh.

2. Correct for image stretch. The real way to fix the problem is to reduce the ink tack, increase the off-contact distance or increase screen tension but for the moment, put a scrap shirt on the press and reduce the squeegee pressure. If it brings the image closer to in register then raise the blade further and set a more vertical angle and apply pressure gingerly if needed. Be cautious if your press is not calibrated the blade may not print on all platens. The off-contact was too low for the combination of squeegee force and mesh tension. 3. Clear the ink from the mesh. This is a job for larger mesh openings an off-contact distance check and lower ink tack but in a bind: if the surface of the non image areas are covered with a thick ink film after the stroke, you want a more vertical angle. If the ink doesnt clear but the nonimage areas are clean, a lower angle and slightly more pressure is the solution. If the ink hang-up is in the central areas only there is nothing that the squeegee can do, you must increase the off-contact distance. 4. Increase ink deposit. The best method is to select a mesh or ink that will give you or the coverage or opacity that you need but in a pinch: Angle the blade lower and leave the pressure alone. If you need more pressure apply it sparingly and gradually after a few prints. 5. Improve image detail. This is a job for the stencil but if you need a cure now: be sure that the edge is sharp, an 80 durometer blade works well for detail, take some pressure off of the blade and bring the angle to approximately 10.

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Chapter 4
How To Instructions

Setting The Squeegee Blade

Follow these steps to properly set the squeegee blade: 1. Set the angle adjustment at 75. 2. Use a feeler gauge to set initial position. 3. Adjust position with equal turns of right and left adjustment knobs. 4. If the ink transfer is consistent but inadequate, lower the blade angle and increase the pressure. 5. If the screen mesh exhibits positive mesh lagraise the angle, and you may need to decrease the pressure. 6. Note the setting for future use. 7. If your press is calibrated, the first area to clear the ink from the screen will be near the edge of the frame. If so, lower the squeegee by equal turns on both sides. This keeps the blade parallel to the platen. 8. Cycle the press with scrap material on the platens to check the deposit as the ink warms, as well as the deposit on several platens.

6. Higher blade speed. The ink and the flatness of the mesh are the two constraints to squeegee speed. The blade can do its part by minimizing the contact area between blade and mesh. Raise the blade, make its angle more vertical and apply as little pressure as you can get away with. Be cautious if your press is not calibrated the blade may not print on all platens.

Following is a table that shows the relative results to be expected if a single factor of the blade is changed as described. It is based on the change from that of an ideal specification for example, if the Change is Softer then it is softer than the ideal durometer. Changes to Bevel or Square are comparative changes. There are three columns listing the Causes as an anticipated result of the change. The third column lists the Needs that must be in place for that Change to occur. And what the change is expected to permit is listed in column four.

PAGE 4 . 44

Press Calibration
Change
Softer Harder Shorter (H) Taller Shorter (L) Longer Square Bevel Round edge Sharp edge Lower angle Raise angle Faster Slower Hi pressure Lo pressure

Causes Primary deflection Excess force on platen Lower contact area Center-to-edge variance Less deflection Positioning problems More linear force Mesh fatigue Ink transfer imbalance Increased contact area Less deflection More deflection Conformity Greater deposit Reduced pressure drop Lesser deposit Greater pressure drop More pressure on ink Positive mesh lag Less deposit Image stretch Positive mesh lag Negative mesh lag Flashing problems Blade deflection Mesh burst Increased productivity

Needs Closer off-contact Vertical angling Higher static tension Closer off-contact Consistent press Higher start position More off-contact Closer off-contact Consistent press More precise press Sharpened continually More precise setting Low yield stress ink Precision setting Lower angle Higher off-contact Higher tension Lower pressure Low yield stress ink Flatter mesh Higher mesh flow rate Thin fabric Lower blade flexure Higher print tension Low yield stress ink

Permits Press irregularities Shorter blade Higher ink tack Finer detail Varying platen height Tighter image tolerance Wider image Use of higher tension mesh Center to edge consistency Any angle Higher resolution Higher ink tack Press irregularities Edge acuity / resolution Increased cycle rate High ink tack Higher ink tack Screen life productivity

Figure 4.36 This table lists the relative change in the blade parameter, what that relative change may cause, what it will need to accommodate the change and what the change permits. For example if the change is to a lower blade angle. It will cause more pressure on the ink and may trigger positive mesh lag. To accommodate this change you may need to increase the off-contact distance or the tension. It will accommodate higher ink tack and press irregularities. We do not want to encourage you to use the blade as a permanent solution, it is most profitable to fix the problem and not to treat the symptom, but in a crunch, the above table shows the relative results of such actions.

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Chapter 4
How To Instructions

Selection And Setting Blades For White

Follow these steps to properly select and set the squeegee blade: 1. 70 80 durometer, square profile. 2. 3/8-inch X 2-inch X 1.25-inch unsupported height. 3. Radius edgebased on mesh count. 4. Blade must be sharpened to be true. 5. 15 to 25 degree angle.

Angular Adjustment

On the Challenger and Gauntlets the plate that locks in the initial angle of the blade should be set at a home position of 90. This gives an initial angle of attack of approximately 12 and should do a reasonable job for most of your work providing that the blade is true and dressed to comply with the surface of the mesh.

The proper angle is high (vertical) enough so that the blade does not deflect on the mesh 6. Fast (20 ips) flood speed. alone. It should not deflect 7. 15-inches per second speed. until it has reached the platen and then only a controlled amount. The angle should be low (horizontal) enough to apply sufficient pressure on the ink and to buffer excess pressure on the platen. Harder blades (lower flexure) can run at lower angles than softer blades (higher flexure). Lowering the angle of a blade that is rigid does less to increase the pressure on the mesh or the platen but it does increase the pressure on the ink.
Speed

The speed of the blade is infinitely adjustable on all M&R presses and the conditions that we have spelled out in this manual, if met, will allow you to run at top production speeds. 1. Tack level of the ink. 2. Flow rate and Flatness of the screen mesh. 3. Pressure drop of the stencil. 4. Printing tension (static tension and off-contact distance). 5. Pressure on the ink. 6. Color of the ink.
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Press Calibration
Squeegee And Floodbar Controls
Figure 4.37 This shows the squeegee (and floodbar) speed controls. The squeegee had a direct impact on productivity (refer to page 6.7 for detail.). The floodbar only has an indirect affect on productivity by allowing the squeegee to run at optimal speeds. The floodbar should pamper, not preprint, the plastisol.

Practical Speed Settings

It is to the color of the ink that we address the speed of both the squeegee and flood bar (refer to figure 4.38 for details). Plastisols are conversationally half liquid plasticizer and half PVS resin with some pigment added. The size and shape of the particles as well as their loading in the ink cause some to print well at high speeds and others to prefer slow speeds. But we have two blades and the flood bar can be used to pamper or push the ink to a higher cycle rate. The table below lists generic colors typical to the industry and blade profiles recommended.
Color White Standard Opaque Opaque Fluorescent Metallic Fluorescents High Density Process Colors Black Blues Flood Gap Close Close Close Far Far Close Far Far Far Flood Speed Fast Fast Medium Slow Medium Fast Slow Slow Slow Squeegee Blade Angle Low Low Low Low Low Low High High High Squeegee Blade Speed Medium Medium Medium Fast Slow Medium Fast Fast Fast Squeegee Speed Limit Mesh flow rate Loss of opacity Mesh flow rate Mesh opening Ink tack Ink tack Dot Gain Ink separation Ink separation

Figure 4.38 This table lists several colors in column one that perform quite differently based on their respective pigment types and loadings. Flood Gap is the space between the flood bar and the mesh. Flood Speed is the relative speed, which neither hampers nor boosts production but allows the fastest squeegee speed for top production. Squeegee Blade Angle is the used to apply pressure to the ink to inject it through the mesh openings. Squeegee blade speed is based on all other settings as indicated. And the Squeegee Speed Limit is the typical reason that you cant run faster assuming that the ink is a constant. PAGE 4 . 47

The Classic Flaw

Image inconsistency is due to a historical flaw in the screen-printing process; the blade cannot apply equal pressure from the mid-point to the end of the blade on a screen with a small inkwell without exhibiting severe deflection. Even if your screen is perfectly tensioned or extremely high tension, the rateof increase of tension as the screen is deflected is higher at the ends of the squeegee blade. To print properly the pressure between the blade and the mesh (at all points on the mesh) must be greater than the pressure between the blade and the platen. Otherwise the ink cannot be injected through the mesh properly the transfer will be incomplete and inconsistent. Higher tension and harder blades mitigate the problem but they do not resolve it and reduced off-contact can actually worsen the condition. The reason is that rate of increase in tension is greater at the edges of the mesh nearest the frame while the lowest rate of increase is dead center of the mesh. The key to a consistent ink deposit is to have consistent pressure across the length of the blade between both the blade and mesh as well as minimal but consistent between the blade and the platen. It is unlikely that you will be able to set the blade perfectly as long as you are stuck with a smaller ink well. But these are the reasons that the settings are so critical and at times may appear so randomized.

Registration

Chapter 4

Often times misregistration is due to a variety of causes exclusive of the press and there are only two stages where registration is easy to check for accuracy: the films and the final print. Since you can check the film positives we are not going to deal with artwork or film output rather we will go to those areas of registration that are more elusive. Some of these are the responsibility of the press; most causes of misregistration are not. M&R presses are designed to fit three high tolerance case hardened cam follower bearings into three machined U blocks. The fit is glove tight and will last indefinitely. This tried and true method of registration has allowed our customers to excel as the highest quality printers in the industry. Our field technicians handle the installations and the registration is set to less than 0.001 at the bearing. Note: If damage has been done to your press or if the air supply is contaminated or erratic, the press can begin to run rough. It is then that the registration can be in jeopardy and M&R service should be contacted immediately. L Tri-Loc Rapid Registration System Still this level of repeatability did not offer all that the printers needed so we designed the Tri-Loc Rapid Registration System. Press repeatability eliminated registration error as a cause of interruptive downtime, but setup time needed to be addressed. The Tri-Loc makes setup registration simple enough for all your staff members. No longer do you have to rely on one, key individual to tweak that image into alignment. The Tri-Loc system registers the films to the screen and the screens to each other on the press. It is a total system registration package. There are only four components to the system: an exposure registration frame, an on-press alignment platen, pin bars, and carrier film sheets. With these few simple tools and no modifications to your screens, your downtime can be cut to shreds.

PAGE 4 . 48

Press Calibration

Figure 4.39 This shows all of the components of the Tri-Loc system; the master registration frame that attaches to your exposure unit, the master pallet that slides onto your Gauntlet, Challenger or Formula press, pre-punched film positive carriers and pin bars for film alignment.

Master Carrier Sheet

Image Centerline and Print Start Location Scribed on Layout Table Surface
Figure 440 This illustrates a light table and attached to it are the pin bar strip and a film carrier sheet. The pin bar can be permanently secured in position. The pre-punched carrier sheet is placed onto the pin bar. The first positive is taped securely to the carrier sheet. A second carrier sheet is laid onto the pin bar and the second film positive is secured to the carrier. Be sure that the two images align via registration targets or the like. Continue until all colors are aligned to each other on the carrier sheets. Remove the carrier sheets and you are ready to go to the exposure unit. PAGE 4 . 49

Prior to your first use of the system you will affix the Tri-Loc master registration frame to your exposure unit and immediately before set up you will slip the alignment platen onto the press. In daily use the system works as follows: your standard film positives are aligned

Chapter 4

Exposure Unit
Figures 4.41a This illustration shows the top view of an exposure unit with a Tri-Loc master frame in position.

on a light table and then taped to film carrier sheets. The carrier sheets are shown in figure 4.40. At this stage, all of the films align to each other on the stripping room pin bars supplied with the system. The now registered films are taken to your exposure unit and laid one by one onto an identical pin bar. As you can see in figure 4.41b, the Tri-Loc master registration frame is mounted directly on the glass of your vacuum frame or exposure unit. Next any of your frames, wooden, static metal or retensionable all can be used with the Tri-Loc. The frame is laid on the exposure frame glass similar to the
PAGE 4 . 50

Press Calibration
past, but now it is set in position against the three stops of the master frame. The vacuum is closed and drawn against both the master frame and your screen frame. The screen is exposed, developed and prepped for the press run. The alignment platen is at the load position. (It has already been swapped out for a standard platen and clamped into position on any press arm). The press operator simply raises the press

Figures 4.41b The photo shows the technician placing the film positive onto the pin bar. The pin bar and master frame are affixed to the glass of the vacuum frame.

carousel, pulls the screen into contact with the three guides on the platen and locks the screen into register. (Photo) We take accuracy to a new level with every Tri-Loc system that leaves our factory. Tri-Loc is milled on CNC (computer numerical control) machines to tolerances that cannot be measured with traditional shop floor instruments the milling tolerances on all components are immeasurable.

Figure 4.42 This shows the minimum distance from the inside of the front screen holder to be six-inches. Any closer and the floodbar will not clear the image on the foreword stroke. This would cause inconsistent color at the very top of the image.

There is no need to modify your existing screen frames. The system works with polyester films or vellum sheets. There is nothing that will damage your vacuum frame, check with our staff to insure that you have ample well size before you
PAGE 4 . 51

Chapter 4
Figure 4.43 This shows the roller frame being inserted into the Tri-Loc master frame on the vacuum frame glass. Virtually any type of frame fits into perfect registration with our system.

Figure 4.44 This shows the Tri-Loc pallet that swaps with a standard platen in seconds. The pallet is put onto the press; the screens are inserted into the pallet and clamped into position. The pallet is removed and the standard platen is replaced-you are ready to go.

Front Screen Holder

TriLoc Pallet

Side Screen Stops

Figure 4.45 This shows the pallet as it fits below the front screen holder. The screen is laid loose in the holders, the pallet is brought into position, the indexer is raised, and the screen is pushed to the rear and left side and clamped into position. PAGE 4 . 52

order. There is a complete usage guide shipped with each Tri-Loc system. It contains many helpful hints for trouble-free registration. It is available on all Gauntlet, Challenger and Formula presses. Issues Not Supported By TriLoc There are a number of causes of misregistration that the Tri-Loc cannot remedy. These include mesh issues, frame problems and inadequate press setup. For convenience we have segregated these issues into Pre-Tri-Loc and Post-Tri-Loc.
L Pre Tri-Loc

Press Calibration
a.

You may want to review Chapter One on balanced screen mesh. This is the number one cause of misregistration during a press run. It goes hand in hand with over and under tensioning. Progressive corner softening will help you build a more stable screen. You should run standard screen sizes and always attempt to maximize the inkwell. Any given set of screens should have similar tension levels. If you want to print in register every time and to the highest level of accuracy, calibrate your press. We have included detailed instructions and assure you that a custom calibrated press is worth more than the time allotted to calibrate. Of course your artwork needs to cooperate but as we said above, the films can be checked quickly and easily prior to screen making. You should have registration checked off by the art department prior to screen making.

b.

c.
Figures 4.46 a, b and c These pictures show the finishing steps of registration with the Tri-Loc. Figure a shows a top view from the inside of the press, of the left side of the frame seated firmly against the left stops. Figure b shows a side view of the frame resting on the screen holder ready to clamp. Figure c shows the master frame lowered and ready to do the next color.

PAGE 4 . 53

Chapter 4
How To Instructions

L Post Tri-Loc

Troubleshooting Registration
1. Printed image is oversized. a. Inkwell too small. b. Off-contact distance too high. c. Squeegee length or stroke too long. d. Frame size too small. 2. Printed image stretched in stroke direction. a. Off-contact distance too low. b. Pressure / Angle too high. 3. Image shift during press run. a. Imbalanced SS curves on screen mesh. b. Over tension. c. Under tension. d. Excessive squeegee force. e. Low screen clamp (line) pressure. f. Racked screen frame or screen holders. 4. One platen out top to bottom. a. Loose platen clamps. b. Very low off-contact. 5. One platen out side to side. a. Worse at top - press registration. b. Wide at bottom head and platen not parallel. c. Wide at top platen deflection from excessive pressure. 6. Out on one side only. a. Squeegee not centered on frame. b. Inkwell too small. c. Racked frame or frame holders. 7. One head out top to bottom. a. Low off-contact. b. Excessive squeegee force. c. Loose platen clamps. 8. One head out side to side. a. Loose frame clamps. b. Low line pressure.

When you set up your press, be sure that they platens are securely locked into position. So not run the blade over the ends of the platens or allow it to extend over side to side. Your line air pressure should be enough to secure the screens into place. For extra long runs or overnight security you will want to use the back up clamp centered on each screen holder. The blades should be 1-inch longer than the image and the stroke should be taken down to size as the image permits. They should be similar in unsupported height, durometer and length. If possible the pressure and angles should be similar. It is a long list but we have offered a troubleshooting guide to help you seen not only the problem but its cause as well. In most shops there are common themes that continue to crop up as the cause of misregistration. Work to solve these issues first then as your time is freer (the available time that you used to work on misregistration problems), come back for the rest.

PAGE 4 . 54

Press Calibration
LPI 65
Tolerance 0.0014"

Schematic For A
+/0.005"

Off-Contact 0.100"

Process Color Print

Mesh 300/34

Tension 25 N/ cm^2

5% Stretch

Warp 285

Weft 285

Compute Angles

Angle 11.9

Stencil Direct

Rz 1 7.5

Rz 2 4.5

EOM 7.0

Blade 80 duro

Angle 15

Height 1.0"

PSI 49

0.150" x 16.0"

Plastisol

Visc. 25,500

Thix 9.5:1.0

Short 4.2:1.0

Thermal Changes

Low 115 F

Gel 175 F

Cure 300 F

Remelt 360 F

Flash Panel

950 F

0.375"

3.7 mu

Press

20 IPS

Dwell Zero

70 DZ/HR

2000 First Aid Ltd.

Figure 4.47 This is a flow chart of the basic printing set-up for a process color print. Although the handbook is not on process color printing, its tolerances and angles were universal, unlike a non-descript spot color print. The halftone is 65 lines per inch as requested by the customer. The tolerance at 3.5" inkwells on the standard Challenger screen is 0.0014". Off contact is set by meter to 100 mils, plus or minus 0.005". The mesh that we selected is a 300/34. It was taken to 25 Newtons per square centimeter or 5% elongation. This stretch left us with a mesh that was 285 count in both the warp and the weft. The 285/34 meshes would eliminate radial moir for a 65-line halftone at 11.9 degrees. The stencil that we made had a lower flatness of 7.5 microns, an upper of 4.5 microns and an emulsion over mesh of 7.0 microns. The blade was a square edge 80 durometer at 15 degrees initial angle. The unsupported height was one-inch, it ran at 49 PSI which gave us a 150 mil (average) contact edge on a 16-inch blade length. The plastisols had a transfer viscosity of 25,000, its thix index was 9.5 to 1, and its shortness was 4.2 to 1. Thermally it reached its thinnest point at 115 degrees F., gelled at 175 degrees F., cured at 300 degrees F. and remelted at 375 degrees F. The flash panel was set to 950 degrees F. at 0.375-inches, the wavelength was 3.7. Flowchart compliments of First Aid Ltd. PAGE 4 . 55

I. Flash Curing When To Flash When Not To Flash Flash Cure Results II. M&R Flash Models Omni Flash Omni-Uni Flash Panel U Quartz Flash Tubes III. Flash Calibration Distance Wattage and Watt Density Temperature and Wavelength Time IV. Operations Baseline Flash Settings Set the Flash Pre-Heat H Over Heating Increase Speed V. Monitoring The Results Lost Time Test Your Settings Take a Reading Multiple Flashes VI. Troubleshooting the Flashed Print VII. Flash Curing With Revolver Mode

Chapter

FLASHING

Flash Curing

Flashing
Printing Under-Bases
To properly print an under-base follow these steps: 1. Use inks with minimum plasticizer levels. 2. Use moderate viscosity, short-bodied inks. 3. Apply with a thin, large opening screen mesh,150 S to 380 S are suitable. 4. Sharpened squeegee blade with a true edge. 5. Set off contact for zero mesh lag and zero stretch. 6. Angle the blade to control opacity and deposit. 7. Set the flash panel to 950 (3.7m) and 3/8-inch. 8. Preheat flash panel for fifteen minutes or set the quartz flashes to 350 and 2 inches. 9. Preheat for fifteen seconds. How To Instructions

Although most T-shirt plastisols are printed wet-on-wet, there are a variety of times that you will need to flash. Even though a job may actually run faster with a flash, it is wise not to overuse the flashing option. The only times you are guaranteed not to require a flash are; single color jobs or colors printed last. Nonetheless, there are many times that you will need to flash. The primary problem scenarios are listed below. Colors that are not printed last in sequence and: 1. 2. 3. 4. 5. 7.

Under-bases. High value, high-chroma inks on darks. Opaque inks on darks. Opaque fluorescent inks. High density or puff inks. Metallic or pearlescent inks.

When To Flash Cure The times when you can be sure you will need to flash your print are under-base colors, white inks or otherwise. Those bright, near-white colors of high-value, high-chroma, when printed in large areas on dark garments. Opaque colors, when printed on a dark background and sometimes on an under-base often times require flashing. Opaque, fluorescent colors are probably the worst of the bunch, and do poorly without a flash. High density or puff inks requiring third dimensional relief, need to be flashed. Finally metallic colors, if over printed while they are wet, lose their shimmering affect unless flashed.

PAGE 5 . 3

B Under-Base Inks

Chapter 5

An under-base is a thin coat of white or pastel color, which lightens the value of a dark T-shirt and builds a smooth surface for wet-on-wet printing. The most frequently used color is white-that is a mixed blessing. It is truly opaque, unlike many lead-free yellows and reds, but its pigmentation is the problem. White pigment is microscopic in size, nearly a perfect sphere and at a very high loading (percentage) in the ink-usually between 17 percent and 25 percent. When you print, pump or stir white ink, it thickens and becomes resistant to flow. White ink should have a high thix index and the mesh should have a large opening and thin threads (refer to the sidebars on page 3.14 and page 3.28 for details). The under-base should be printed through a thin-thread mesh. Unless the white is visible in the final print, do not try to totally alter the value of the dark substrate. For example, let the white turn the black T-shirt to a gray. This allows a thinner white; one that is easier to print upon. Under-basing is usually done with screen mesh counts between 150 and 380 (refer to the how-to on page 3.30 for details). Always try to run opaque, or at least semi-opaque, colors as your overprint set. These are much easier to deal with than transparent inks. If the garment is 50/50 poly-cotton there are two guidelines. First, they are often lower fabric mass, so mat down is more difficult. You may find that you need a thicker deposit than for cotton. Second, it is very important to keep the fiber hair below the surface of the garment to control surface bleeding (refer to the how-to on page 3.16 for details.) If the under-base is not visible in the final print and the overprint colors are not too transparent, try this: use a small amount of blue-shade-black pigment in the white ink to make it a 30 percent gray (refer to the sidebar on page 3.28 for details). This will clear the mesh at higher speeds, print more smoothly and flash faster. The surface will also have a propensity to hide flaws, like you tend to get, when you print a royal blue over a stark white under-base. The highest productivity on a long press run comes from running a second white (versus double stroke or revolver mode), if the press and the run length permit. You may want to review page 6.13 on pricing and cycle rates for assistance on making the decision whether to run a second white. Ask your supplier for a white intended for flash-cured under-bases. It should be low gloss, high thix index, smooth finish and dry to the touch if it is to perform well.
C V High-Value, High-Chroma Inks On Darks

High-value colors are nearest to white; they include yellows and pastels, even light
PAGE 5 . 4

grays. High-chroma colors are the ones in the center of the PMS column, the ones that have no white or black added and little opacity or hiding power. A perfect example is a lead-free chrome yellow on a navy-blue T-shirt. The yellow is clean, free of black or white and the shirt is its complementary color. The two are complimentary-directly across from each other on the color wheel, so any trace of blue will be immediately detected. Artists know to make shadows they combine complimentary colors, so if yellow is not totally opaque, it will appear dark and dingy. Such a color/garment combination would not run well without a flash. If it is not flashed or run last, the force of the screen and blade on subsequent colors will push the ink into the garment and destroy its contrast. In fact, this combination may need to be flashed, even if printed on an under-base.
Figure 5.1 The L*a*b* color model shows the three primary color attributes in an opposed format. If your ink color is light, or nearer the white extreme and being printed on a complementary garment color, you may need to flash. For example lets take a yellow, which is always high value, or near the white position. Print it on a dark blue T-shirt. Since blue is opposite yellow on the color model: this is very demanding to print. The same is true for red and green. You can use this model to predict degrees of difficulty in pairing ink and garment colors.

Flashing

Opaque Inks On Darks

These are in the maybe category for flash or no-flash. If the ink is very opaque, with white added to the formula, you are not too particular about a slight shift in the final color, and the color is not printed too early in the sequence, then you may not need to flash. These colors include most grays, light blues and many pastels. All of them rely on white pigment or some other attempt to whiten the
PAGE 5 . 5

color (refer to page 3.30 for details). This type of ink will tend to print extremely well on the thinnest of under-bases and are often easy to overprint (refer to Targets photo).
Opaque Fluorescent Inks

Chapter 5

This is perhaps the worst-case scenario for potential build-up, mottling and loss of contrast. The fluorescent resin is very tacky and yet will separate. It is made to be opaque by the addition of white and or blowing agents (refer to page 3.30 for details) and both of these tend to build up. They are susceptible to both highshear build up, as well as absorptive build up (refer to page 3.31 for details). Further these inks tend to mottle like a stucco ceiling when they are printed upon, so almost always, you will want to flash them.
High Density Or Puff Inks

The nature of these ink Figure 5.2 This is a high opacity print on a 50/50 (poly-cotton) swatch. The systems is to build a high fabric mass was low and the process color inks were totally transparent. This meant that the white had to have sufficient opacity and bleed resistance or the colrelief, so any overprintors would be lost. Flashing was critical to this print, compliments of Target ing without a flash Graphics Ltd. would be counter productive. Both of these systems are designed to flash well, under reasonable conditions.
Metallic Or Pearlescent Inks

Much of the shimmering effect that is so desirable in a metallic or a pearlescent is lost if overprinted while wet. An overprint screen crushes the structure of the surface and the metallic goes from silver to pewter or lead. To allow them to fuse in the dryer at normal times and temperatures, they often contain soft resins and hot plasticizersthe perfect recipe for high after flash tack. Whenever possible you will want to run your metallic colors dead last in the sequence.
PAGE 5 . 6

Flashing
When Not To Flash It is unwise to use flashing long term to solve problems created by other facets of the process. The list of problem scenarios appearing at the beginning of this chapter, are legitimate and require a flash, but if you dont see your cause for flashing on the list-beware. The flash in your case may be a very expensive bandaid. For example, if the ink is building up-fix the ink, dont waste your time (other than to get the job out the door) flashing. If you have smearing, review chapters one and five on screens and press calibration. If you cant get quality coverage, it may be your ink or printing technique, refer to pages 3.16 and 3.30 for details.
Figure 5.3 Compliments of Liberty Screen Print the high-density print shows off the deposit that is critical to the effect. This type of printing involves multiple flashes. To bring a screen down on top of the wet thick ink deposit would ruin the relief of the image.

You should not need to flash white shirts, exceptions being metallic inks, high density, and under-bases. Even if the image is a four-color process, if it looks better flashed, something is wrong with your parameters and they should be corrected, so the press can be run at top speed. Gauntlets and Challengers are capable of printing process color on white T-shirts at 70 dozen per hour or higher, without any flashing. Flash Cure Results I hope by now you are getting the message-flash curing should be limited. However, when it is necessary you will find the possible results of flash curing are few, but critical to your productivity. In the real world, there are only three possibilities for flash curing, they are:
PAGE 5 . 7

Selecting Ink Characteristics Suitable For Flashing

If you must flash, then you must select the right ink for optimum results. Choose an ink with the following characteristics: 1. Low plasticizer level. 2. Fine grind of 5.0 or above. 3. High critical surface tension. 4. Low surface tension. 5. Low plastic viscosity. 6. High relative viscosity. Finally, review chaper six, on inks, for a better understanding of this list.

v v v

Chapter 5
Under gelnever happens, the ink would still be wet. Perfect gelnot in the real world. Over gelthe only real possibility.

Since the best-case scenario is bound to be excessive, you want to do everything possible to keep from a runaway flash. If there is too much time or temperature (and time is the greater enemy) you wont reach stability; the heat will rise until you are forced to stop the press. Then you must wait until the flash cools, hardly an efficient prospect.

Figure 5.5 This photo shows two white T-shirts, one finely detailed line art with gradients and the second a process color job. Neither of these two prints warrants a flash. If you need to flash this type of work, your process conditions are out of spec. We suggest you review this manual.

M&R Flash Models

All M&R flash units, panels and quartz tubes, are mediumwavelength-infrared emitters. Infrared is a specific wavelength of energy that is emitted from the panel or quartz tube and is absorbed by the garment and the ink. As the garment and ink absorb this energy, it is converted to thermal energy.
PAGE 5 . 8

Flash curing is intended to take the ink to a state of gel. This is the level of melting that combines resin and plasticizer to the point when the ink film is dry to the touch. Once exposed to infrared, the plasticizer or liquid phase becomes hot and only then, aggressive enough to flux (melt) the resin, the solid phase of the ink. The fluxing process combines the plasticizer and resin into a vinyl sheet. This transformation is complete as the ink reaches a temperature of approximately 300 (refer to Chapter Three for details). Omni Flash Panel The Omni is the entry-level infrared panel and fits neatly into the carriage drive of any press head on a Gauntlet or Challenger. It uses the same microprocessor technology and heating system of all M&R panel flash units. The standard size Omni flash runs on a standard 30 Amp 208/240VAC circuit. Larger sizes are available and electrical ratings will differ based on the final size. Height adjustment is done with an open-end wrench and the flash shuttles in and out as needed. This flash requires an available press head to operate.
Figure 5.5 Shown is the Omni flash with floor stand. This unit provides a quality flash without all of the convenience of the more expensive models. For automatic press use only, the Omni is available in a cage mount. The flash as shown, can be positioned strategically over an open station and must be moved when the press stops. The cage mount Omni functions automatically with the press carriage-drive and decommissions one color from the press.

Flashing

U Omni-Uni Flash Panel The Uni Flash is a step ahead of the Omni Flash with convenient, no tools height adjustment wheel and an insulated cabinet. The panel is synchronized to shuttle in and out with the press operation, and has a maximum operating temperature of 1100F. The standard Uni flash runs on 30 Amp, 120 VAC circuits, larger sizes are available. This flash requires an available press head to operate automatically, operating in synch with the press. It can be positioned over an open platen. But if so, must be manually removed when the press stops for longer than a dwell setting.
PAGE 5 . 9

Quartz Flash Tubes

Chapter 5

The Quartz Flash is a step-up from the Uni Flash configuration. The Quartz Flash monitors the temperature of the garment during production to ensure consistent results. Since there is no hard connection to the press they can be moved from position, to position, easily. It can be used in full automatic synch with the press operation either, at a press head, or over an open platen. Once the unit is preheated for approximately 15 seconds, it is instant on and off. At two and a quarter inch distance, there are no hot or cool spots-the unit is in focus. The Quartz Flash Figure 5.6 All M&R Quartz flashes have been designed takes up far less space than the Uni with lamp positioning so that there are no hot or cool spots with Flash for operator convenience, as a distance of lamp to platen of 2.25 from the quartz tube to the platen when the platen is in the up position. Closer and you well as use in cramped quarters.
will find lines of hot spots, farther and you will not gain the full efficiency of the lamps. Figure 5.7 The Quartz Flash can prove far more energy efficient, particularly on short runs where stop and start are the norm. The Quartz Flash does not need to be hard wired to the press and can be placed at any open station. The tubes are instant-on as needed. We recommend a one-time fifteen second preheat cycle prior to each use. This negates the start-up curve associated with fused quartz units.

Flash Calibration
Every bit as important as the selection of the flash unit is ensuring your press is calibrated and your flash is calibrated to the press. The parameters that need to be controlled and adjusted for are; time, temperature and distance between the emitter and the platen. Each of these variables will be reviewed in detail. Distance

The following paragraphs will detail how to optimize the flash settings. All M&R panels are designed to allow the highest productivity at minimal energy levels.
PAGE 5 . 10

You will want to take advantage of the selective control offered by the press and its flash curing equipment. The first step is to establish a distance between the flash panel and the platen. To help you do so, we will look at the effects of distance on watt density at the surface of the panel and then at the surface of the garment. Wattage and Watt Density The watt density or how many watts in a given area can be determined by the following equation: watt density = (voltage * amperage) / (panel length * panel width). Watt density is measured Figure 5.8 The Uni Flash connects to the press to funcat the surface of the panel itself and tion on automatic mode. The panel stays on during the press run and automatically shuttles in at the start of a run and can be used to compare the output out at the end of the run or for interruptions. During the efficiency of panel-to-panel. More press run it stays in the slash position. important on the production floor is the relative surface density of the wattage. In other words, how much of it is hitting the ink on the shirt. With all M&R panels, the energy is evenly distributed so there are no effective hot spots; you can put the panel as close as 3/8. Although there is more to flash-curing ink than the watt density of the flash at the platen surface, the distance sets the range of performance. For highest output, energy efficiency and most stable results, put the flash panel as close as practical to the platen. Note, the distances below are with the indexer and platens in the UP Position. The following look-up table allows you to compare relative levels of watt density at the surface of the T-shirt as the panel is moved closer and farther from the platen, or when you have an uncalibrated press (one corner lower than the others). It may be obvious that accuracy in the flash setting is critical and becomes even more critical the closer you get to the platen. If you were at one and one-eighth inch on one end and one inch at the other, the closer of the two ends has a surface watt density twenty percent greater than the farther setting. But if the closer end was three-eighths inch and the farther end one half inch, the closer end has a forty-four percent greater surface density. With this level of variability-consistent gel is impossible.

Flashing

PAGE 5 . 11

Chapter 5
Surface Watt Density Based on Panel Distance Change
3/8 0.375 0.500 5/8 0.625 0.750 7/8 0.875 1.0 1.000 1 1/8 1.125 1 1.250

Start 1.7 2.7 4.0 5.4 7.1 9.0 11.1

56% Start 1.5 2.2 3.0 4.0 5.0 6.2

36% 64% Start 1.4 1.9 2.5 3.2 4.0

25% 44% 69% Start 1.3 1.7 2.2 2.7

18% 32% 51% 73% Start 1.3 1.6 2.0

14% 25% 39% 56% 76% Start 1.2 1.5

11% 19% 30% 44% 60% 79% Start 1.2

9% 16% 25% 36% 49% 64% 81% Start

Figure 5.9 The look-up table above shows the relationship between distances ranging from three-eighths of an inch to one and one-quarter inches (shown across the top of the table) and how the surface watt density increases or decreases. The best distance and surface watt density are on the left side progressively getting worse as you move to the right. The starting distance is listed as start in bold black type. For example, if your starting distance is between the bottom of the flash panel and the platen and you were to adjust it closer, to from the platen, the increase in surface density would be 2.2 times as high. If you were close, at 3/8 and you were running zippered fleece and had to increase the clearance and moved to 1, the surface density would drop to a mere 14 percent of the closer setting. Closer is more efficient, increasing production of dozens per hour. This table also demonstrates how uncalibrated presses can easily over gel one corner and under gel another. The closer your distance between the flash and the platen, the more critical press calibration becomes.

Moving Flash Further From Platen

1.2 1.0 0.8 0.6 0.4 0.2 0.0 0.38 0.6 0.6 0.4 0.4 0.3 0.7 1.0 1.0 1.0 1.0 1.0 1.0 1.0 0.8 0.6 0.4 0.3 0.2 0.1 1.13 1.0 0.8 0.6 0.5 0.4 0.3 0.2 0.1 1.25

Watt Density Multiplier

0.7

0.8 0.6 0.4 0.3 0.14

0.5 0.3 0.2

0.50

0.63

0.75

0.88

1.00

Original & New Distance in Inches

Figure 5.10 This chart illustrates the results of moving the flash farther away from the platen. Find your current flash-to-platen distance on the horizontal axis of the graph. The range is from three-eighths inch to one and one quarter inches. Look to the top perimeter of the plot area, directly above your current distance, where you will see a 1.0 at the top PAGE 5 . 12

Flashing

of each colored curved data line. The 1.0 represents the multiplier of watt density at your current distance. The 1.0 is one hundred percent of the watt density. Travel downward and to the right on that curved line until you are directly above the new distance, which is listed on the horizontal axis. The data point at this location is the percentage of watt density that you will have at this distance. For example, if your current distance is three-eighths inch and you want to move farther from the platen to one inch, the watt density is one hundred percent at three-eighths inches and will be fourteen percent at one inch.

A panel that is closer is less susceptible to drafts from open doors, windows and the like. Further, it allows a lower operating temperature or less time to flash, and both of these conditions are very desirable. Howeve,r if you are going to be close to the platen, as we have advised, you must be accurate. We recommend that you do not try to set the flash by eye, particularly if it is to be set at a low clearance. Note that there is no focus distance required with the M&R infrared panel flashes. You should only set the flash after the press is calibrated (refer to page4.15). You will Figure 5.11 This photoneed a 3/4 open graph shows a side view of the Omni-Uni Flash and the end wrench, a tape platen. In the case of panels, measure or a ruler you will want to be threeand four pieces of eighths of an inch from the platen. The Quartz flashes shim stock to need to be positioned twomatch the thickness and-one-quarter inches from of the distance the platen. Note that all measurements are with the from the flash to platen in the up position. the panel. If you are using the recommended 3/8 as your standard, strips of squeegee blades 3/8 thick will work well as the shim stock. There will be times, in most shops, that the flash distance needs to be moved to allow for thicker stock, but it is critical it remain as close to the platen as possible for top efficiency in production. It is Figure 5.12 This picture best with an Omni shows the operator adjusting the Omni-Uni Flash for par- or Uni flash to allelism to the platen surface. move it as close as As the panel distance possible. Threebecomes closer, for more efficient operation, the position eighths of an inch must be more accurate. A is recommended. panel that is close and out-oflevel will produce inconsistent gel across the garment.

The graph in figure 5.13 gives a profile

PAGE 5 . 13

of the results of moving the flash closer. The difference in the operation is a higher watt density. This allows you to operate at a lower temperature and/or faster cycle rate.
Moving Flash Closer To Platen
12.0 11.0 10.0 9.0 9.0 11.1

Chapter 5
Figure 5.13 This chart illustrates the results of moving the flash closer to the platen. Find your current flash-to-platen distance on the horizontal axis of the graph. The range is from three-eighths inch to one-and-one-quarter inches. Look to the bottom horizontal line in the plot area where you will see a 1.0 at the base of each colored, curved data line. The 1.0 represents the multiplier of watt density at your current distance. The 1.0 is one hundred percent of the watt density. Travel upward and to the left on that curved line until you are directly above the new distance, which is also listed on the horizontal axis. The data point at this location is the percentage of watt density you will have at this distance. For example, if your current distance is one inch and you want to move closer to the platen, to a distance of one-half inch. Follow the green line until it is above 0.50 on the horizontal axis. The old watt density was one-hundred percent at one inch, and will be four times as great at one-half inch.

Watt Density Multiplier

8.0 7.0 6.0 5.0 4.0 3.0 2.0 1.0 0.0 5.4 7.1 6.2 5.0 4.0 3.0 2.2 1.7 4.0 3.2 2.5 1.9 1.4 2.7 2.2 1.7 1.3 2.0 1.6 1.3

4.0 2.7

1.0

1.5

1.0
0.50

1.0
0.63

1.0

1.0
0.88

1.0
1.00

1.5 1.2

1.2

1.0 1.0
1.13 1.25

0.38

0.75

Old and New Distance in Inches

Figure 5.14 After the distance is set and you are certain of parallel planes between the platen and the quartz tubes or infrared panel, it is time to set a temperature. All flash controls are conveniently located at the rear of the flash unit.

Temperature and Wavelength Once you select a distance, step two is to consider the operating temperature of the flashit is part and parcel to the wavelength generated. The wavelength can be determined from the

PAGE 5 . 14

results of the wattage or the temperature itself. The panels can produce a range of infrared wavelengths but all of the IR emitters used in the screen-printing industry are medium wavelength. The look up table below lists a range of practical temperatures and resultant wavelengths. The plastisol resin likes wavelengths around 5.0m or 600, but this measurement is irrelevant for two reasons. Until the plasticizers are in motion, and they like much higher temperatures and shorter wavelengths, you cant work on the resin. Second, the goal is for the flash times to be

Flashing
Calabrating Flash Distance
To calibrate flash distance, follow these steps: 1. Be certain the flash is disconnected from power. 2. Be certain the flash is totally cooled and at room temperature. 3. Put the platens in the down position. 4. Place the four shims on the corners of the platen. 5. Measure or eyeball a minimum of two-and-one-half inches clearance between the platen and the flash; move platen accordingly. 6. Raise the platens. 7. Adjust the flash so that there is zero clearance between the flash and the shims. 8. Drop the platens and remove the shim stock. Note: the press must be calibrated before you calibrate the flash distance. That is the platens must be parallel to the flash panels or tubes. How To Instructions

Temperature to Wavelength Look Up Table

600 F 650 F 700 F 750 F 800 F 850 F 900 F 950 F

5.0m
1000 F

4.8m
1050 F

4.6m
1100 F

4.4m
1150 .

4.2m
1200 F

4.0m
1250 F

3.9m
1300 F

3.7m
1350 F

3.6m

3.5m

3.4m

3.2m

3.1m

3.0m

3.0m

2.9m

Figure 5.16 There is a linear relationship between wavelength and temperature. The chart above lists a range of temperatures from 600 F. to 1350 and directly below the temperature lists the wavelength generated. As you can see from the look-up table above, considering the nature of the ink, there is not a lot of change in the wavelength as compared to the temperature. When you flash cure, you are taking the ink to a gel state. You can't work on the resin part until you get the liquid moving. The liquids are plasticizers and they typically have peak absorption at or near 2.2 microns and 2.2micron wavelength equates to a 1910 F. emitter temperature, which is impractical and dangerous. Gel with the flash, cure with the dryerthat is the way it was intended.

very short, so a temperature that is too low would not make production sense (refer to figure 5.17 for details). Cotton T-shirts like shorter wavelengths than the resin, so scorching can be avoided by using moderate settings. Once you have determined the distance from flash panel to platen, we suggest a wavePAGE 5 . 15

Dont Crash The Flash

If you are using an Omni or Uni panel type flash, we have some sound advice. Do not run the flash in and out at high speeds. You will gain nothing in production and it can rattle the flash to death. The carriage drive on the Gauntlet and Challenger presses is rugged and is intended to run as fast as you can load and unload. All of its components are rugged enough to withstand the shock indefinitely. The flash panel however has thermal connections, which given enough abuse, will begin to erode. This erosion will cause an amperage increase and get worse as time goes on. Run the panel in and out at slow speeds as is intended, there is absolutely no reduction in productivity and your flash will last a lot longer.

length that is above scorching, yet low enough to trigger the plasticizer at high production speeds.
Temperature & Wavelength
1400 1300

Chapter 5
1200 1100 1000 900 800 700 600 5.0 4.8 4.6 4.4 4.2 4.0 3.9 3.7 3.6 3.5 3.4 3.2 3.1 3.0 3.0 2.9

Degrees Fahrenheit

Wavelength in Microns
Figur5.16 This chart illustrates the relationship between degrees Fahrenheit and wavelength. Find your temperature in degrees Fahrenheit on the vertical axis, and then move along the gray lines to the blue dot. Drop down to the horizontal axis and read the corresponding wavelength.

Time There is one common thread among all printers when it comes to flash curing: no one goes fast enough. Time is the constraint, so the point of this exercise is to allow you to flash more shirts per hour, with minimal downtime. Take a given distance and a given temperature and set them against dwell
The Squeegee Speeds Effect On Cycle Rate When Flashing Dwell Slow Medium Fast

1 3 5 7 9

56.7 49.3 41.9 34.4 27.0

65.5 53.8 42.1 34.6 27.1

65.9 54.1 42.4 34.8 27.2

Figure 15.17 This is a table to show the relationship between cycle rates, dwell setting and squeegee speed. You will do well to set a low dwell time and then if additional flash time is needed, adjust the squeegee speed to fine-tune the flash time. PAGE 5 . 16

(and squeegee) time to maximize your throughput. The look-up table on the previous page will serve as a map to help you establish the optimal conditions for your plant.
Figure 5.17 This picture shows the speed controls on the Challenger carriage arm. The duration of the flash is based not only on the dwell setting, but also on the time of the slowest or longest stroke head. You do not have to shorten a stroke nor run the blades at light speed, but you must remember that both of these settings affect the time of flash.

Flashing

Operations
Now that you are aware of the functionality of the components of flash curing, we can set the flash to run efficiently and quickly. The next table takes a standard Omni or Uni flash setting and alters it based on typical conditions in most shops. Baseline Flash Settings The standard setting for a flash panel (excluding quartz units) is: 950 at 3/8 for 2 seconds. This will allow the press to run at 70 dozen per hour and faster if your blade speed, screen parameters and ink will permit. You can take advantage of this setting if your ink deposit is approximately 2 mils and the ink that you are flashing is designed or modified to gel fast. There are a number of things that you can do to depart from the standard and a few of these are listed in the table below to act not as absolutes but as a map to allow you to maneuver through a variety of conditions with ease. Now you know after a certain point, hotter is not so much better, and closer is
PAGE 5 . 17

Standard and Adjusted Flash Settings

Variable Standard Thicker Ink Deposit Bulky Garment 1100 3.4 m 3/4 gap 3.0 sec. 2 mil Fast Hoods, etc.

Chapter 5
Slower Gelling Ink 1100 3.4 m 3/8 5.0 sec. 2 mil Slow Ts / fleece Speed Above 70 Dz./Hr. 1050 3.5 m 3/8 1.5 sec. 2 mil Fast Ts / fleece

Temperature 950 F. 1050 Wavelength m 3.7m 3.5m Panel* Distance 3/8 gap 3/8 Flash Time 2.0 sec. 3.0 sec. Ink Deposit 2 mil 3 mil Ink Gel Rate Fast Fast Garment Ts / fleece Ts / fleece *Note for quartz tubes, substitute 2 1/4 and 950.

Figure 5.18 The gray area gives a standard setting for an Omni Flash or Omni-Uni Flash. In each of the next four columns one variable (shown in red) is changed and the temperature of the flash is adjusted to compensate. For example if the ink deposit is thicker as indicated in Column Three, increase the flash temperature from the standard of 950 to 1050, if you are experiencing any difficulties. You may note the only time the gel is over three seconds is with slow-gelling ink and with such ink you will experience after-tack issues.

much better than farther. Begin production by letting the flash warm up until the thermostat indicates that the flash has reached the preset temperature. You have one of two options at the outset, either preheat the platens or begin production at a slower rate and then as the platens heat up, increase the speed. H Pre-Heat This technique works best if the shop and press are very cold. It is worth the time and effort, as it need not interfere with production. The press can warm itself up, while you prepare for the next press run. Turn the flashes on at the preset temperatures and put the press on automatic mode. You will need an open press head to do this. Expect it to take about ten minutes (of course this depends on shop ambient temperature, the dwell setting, time of exposure, distance and initial flash temperature). Run at a slow squeegee speed for the warm-up cycling, since longer time under the flash will elevate the platen temperature the fastest. Bring the platen temperature up to 120 and begin production. When you put ink in the screen, it has specific properties that are about to radically change when the ink gets warm. At approximately 110 the ink thins and becomes very fluid. At this stage it will tend to transfer more ink at given settings and will leave a flatter, smoother ink film. Not until the ink reaches the range of 160 does it achieve gel state. Gel is the point when the ink can be printed upon without any detrimental affects to its surface. You will find as the ink warms, you
PAGE 5 . 18

Flashing
Maximizing Productivity With The Flash
Use the following steps when setting your flash to maximize productivity: 1. Set the flash panel as close as possible. 2. Set the quartz tube at minimal focal distance. 3. Calibrate the press. 4. Now calibrate the flash. 5. Use an ink wedge to test for proper settings. 6. Use a sharp squeegee blade and thin screen mesh. 7. Use inks with high gel, low plasticizer levels. 8. Reduce dwell time as production stabilizes. 9. Eliminate drafts around flash unit. Figure 5.19 The Kool Mist from M&R is the failsafe answer to top production rates with virtually any deposit, ink system or number of flashes. It was designed and engineered originally for auditory T-shirts, where the controlled film conductive circuit was screened directly onto the shirt. Any disturbance of a printed trace would alter the circuit. The Kool Mist can definitely keep your operation cooler with water and a five-percent solution of food-grade silicone. The unit fits between stations, so there is no loss of color capacity and no need to have a cool down station. 10. Sequence the fastest inks earliest. 11. Use heat resistant spray adhesive. 12. Install a Kool Mist between heads. 13. Use a cooling station with a curtain transvector. 14. Use flash additive, if needed. How To Instructions

are able to reduce squeegee pressure and flash time and these adjustments are advisable.

If the ink is taken beyond the gel stage, the ink is nearing fusion or that stage where any additional time or temperature does not improve the inks properties. This will occur around 300 and should be avoided, even by multiple flashes, at all costs. As the ink nears fusion, its surface alters and becomes more and more difficult to print upon-certainly to printed upon wet-on-wet. Should you approach this stage, the best thing to do is allow the press to totally cool and properly dispose of the inks in the screens and try again. Whether you call them Ink Traps or End Caps (refer to page 3.17), M&Rs
PAGE 5 . 19

Chapter 5
How To Instructions

Determining Flash Settings

Use the following steps to determine proper flash settings: 1. Calibrate your press. 2. Calibrate the flash distance. 3. Use the tables on pages 5.12 and 5.14. 4. Begin at 950 F. or 3.7m wavelength. 5. Preheat the flash and platens. 6. Make a note the start temperature with a heat gun. (page5.25). 7. Run an ink wedge to relate ink, deposit and flash.

attachments can help you solve the ink stability issue. Since they keep the ink in a confined area, they will act to stabilize its temperature over a longer period of time without the need to overload the screen with ink. Note that low quantities of ink are more apt to change faster than large ones; just like the road surface of the bridges freezing faster in the winter. Over Heating

The flash is an extension of the dryer, because heat will 8. Adjust press dwell to minimize time. build additively. For example, 9. Monitor the settings and results with a heat gun. if a 72 room temperature garment goes through a dryer, it comes out at a nominal 280. Then put another garment under a flash and take it to a nominal 160. Then immediately put it through the dryer, it will exit at 340. The flash does not operate alone; consider it a preheat station. If you inspect at the end of the dryer, be sure that the cause of rejects was not at the press end. Several problems occur when the ink is over heated under a flash: 1. After tack increases (refer to sidebar on page 3.26). 2. The ink becomes less receptive to the over print color (refer to the how-to on page 3.28). 3. Platen temperatures exceed safe limits (130). 4. Dye migration and sublimation are at risk (refer to sidebars on pages 3.8 and 3.9). 5. Blistering ink and scorching garments are at risk (refer to figure 5.16). 6. Garment shrinkage. Sooner, rather than later, production must be interrupted.
PAGE 5 . 20

Flashing
Factors of After Tack

If you have read much of this chapter you realize that time is the greatest enemy of successful flashing. Further, a double stroke (which increases time) will be the demise of your ability to predict and control your flash parameters. You may have a tendency to approach flashing gingerly and inadvertently run slowwrong. You must set your conditions wisely and then go as quickly as possible to keep the time factor at a minimum. Avoid the use of high plasticizer level inks, whether the ink maker or you put the excess plasticizer in the pail. This includes plasticizer reducers and curable reducers, which are mostly plasticizers. Be sure that you have sufficient tension and optimal off contact (Refer to Chapter V for details) to allow running at high speeds. Use a true and sharp-edged blade when ever possible, enabling speed and a thinner deposit. We have generally recommended plain-woven mesh, but for flashing, it is imperative. Twill mesh puts more mesh in contact with the flashed print at any one time and this allows diffusion adhesion. The worst news is that the better you make your stencil, the more affinity it will have for the flashed, hot under-printer. But under no circumstances should you consider altering the stencil. Remember identify, and then fix, the problem, not what surrounds it. Flash curing successfully relies upon the balance of inks, flash and press. If you have adhered to the recommendations given in this book and are still having problems on the press, change inks. Increase Speed Begin at a slower speed for the first five-minutes. Then every five-minutes you can increase the speed of the press (see figure 5.21). Remember that cycle rate is a combination of dwell time and squeegee speed (refer to page 6.7 for details on production rates and cycle times). If you start at 72 with a stan-

Use of Flash A dditiv e

After-flash tack is a form of diffusion adhesion. This is a temporary bond between two hot, flat, compatible plastic surfacesthe ink and the stencil. The solution is as multifaceted as the causes and depending on the setting, may be very complex. One method of eliminating ink-to-screen sticking is adding, flash additive to the under-printing color. Flash additive is similar to the resin your plastisol is made from. It is PVC (poly vinyl chloride) blending resin. Named so due to its primary usage, to modify a finished plastisol for specific performance properties. This particular resin is large enough to be properly stirred into the ink. The resin proceeds to use-up the excess plasticizer in the system. Before you add flash additive to your ink, be certain the ink has been thoroughly stirred. Flash additive is very efficient, requiring only a small amount, so it should always be added by weight. Since it affects the ratio of available-toabsorbed plasticizer it should be added at least 24 hours, and preferably 72 hours, before going to press. This gives the ink a chance to achieve equilibrium and you will find you will need less resin to solve your problems. Adding resin worsens the hand and drape. You know you have added too much when it compromises squeegee speed. Now time becomes the problem. If you add too much flash additive, dispose of it and begin again.

PAGE 5 . 21

Chapter 5
How To Instructions

Minimizing Flash Temperatures

To minimize flash tempertures follow these steps: 1. Calibrate press and flash. 2. Use low plasticizer level ink. 3. Add flash additive if needed. 4. Minimize flash to platen distance. 5. Engineer for single stroke. 6. Minimize dwell time as run progresses. 7. Maximize squeegee and flood speed. 8. Minimize ink deposit. 9. Use a thin flat screen mesh. 10. Prepare a sharp, true-edged squeegee blade.

dard flash setting (see figure 5.23), the platens will be at 90 in seven-minutes and up to 120 in fifteen-minutes. Of course this depends on shop ambient temperature, the dwell setting, time of exposure, distance and initial flash temperature. If you are double stroking and trying to flash (refer to pages 6.5 and 6.5), then review the table below. Time is the deadliest enemy with flash curing, not only does it cost productivity and money, but it is like a jet airplane-they dont fly very well at slow speeds.
Sequence the Fastest Inks First

We have discovered some interesting facts; the only possible real-world flash technique is unfortunately over flashing. Heat has an additive property and preheating affects the final outcome. We know sticking occurs more often at elevated temperatures. Therefore, the first color flashed, is the most critical. It is our chance to keep the heat at a minimum level, to finish from the dryer at a lower temperature point. Consequently, it is best to run the fastest flashing colors, earliest in the sequence. These fast-flashing colors will generally be the ones with the lowest plasticizer level. This is information you will want to get from your ink supplier. If the plasticizer level is too high, the addition of flash additive (refer to page 3.26 for details) may be helpful in reducing the flash time and temperature. The benchmark for addition of flash additive is when the ink will not run at top speed. In this scenario, the solution becomes the problem. If you have to run slower, the addition of flash additive may have been self-defeating, as time is a greater enemy than temperature.
PAGE 5 . 22

Monitoring the Results

Flashing
Eliminating Double Stroke
Eliminate the need for double stroke by following these steps: 1. Never print on an un-calibrated press, its too costly. 2. Use screen mesh with a larger mesh opening. 3. Optimize off-contact 4. Use sufficient mesh tension. 5. Use a true-edge squeegee with a larger radius. 6. Angle the squeegee blade toward horizontal. 7. Use a shorter squeegee blade length. 8. Reduce squeegee blade speed. How To Instructions

Once you have established your particular settings to accommodate the ink you are using, you need to monitor your results to ensure optimum performance and consistency. Flashing at very high speeds is done every day, but not by all printers. You want to determine which group you belong to. Lost Time

Most press operators are not 9. Use a larger frame, leaving optimum ink well. aware of how many dozens10. Run a duplicate second screen, rather than double per-hour are lost due to flashstroking. ing. To help you appreciate the cause and effect, we provide the table below. Across the top is listed one through fifteen-seconds of delay. Down the extreme left column, we have set beginning dozens-per-hour.

The Production Cost in Dozens With Seconds of Delay 0 1

27.3 35.3 42.9 50.0 56.8 63.2 69.2

2
25.0 31.6 37.5 42.9 47.7 52.2 56.3

3
23.1 28.6 33.3 37.5 41.2 44.4 47.4

4
21.4 26.1 30.0 33.3 36.2 38.7 40.9

5
20.0 24.0 27.3 30.0 32.3 34.3 36.0

6
18.8 22.2 25.0 27.3 29.2 30.8 32.1

7
17.6 20.7 23.1 25.0 26.6 27.9 29.0

8
16.7 19.4 21.4 23.1 24.4 25.5 26.5

9
15.8 18.2 20.0 21.4 22.6 23.5 24.3

10
15.0 17.1 18.8 20.0 21.0 21.8 22.5

11
14.3 16.2 17.6 18.8 19.6 20.3 20.9

12
13.6 15.4 16.7 17.6 18.4 19.0 19.6

13
13.0 14.6 15.8 16.7 17.4 17.9 18.4

14
12.5 14.0 15.0 15.8 16.4 16.9 17.3

15
12.0 13.3 14.3 15.0 15.6 16.0 16.4

30 40 50 60 70 80 90

Figure 5.20 Since a reduction in conversion cost (refer to page 6.4 for details) is the primary mission; you will want to expedite your flash-curing process. The table above lists the results of an initial cycle rate after the delay due to flashing. Hurry up and wait may be the case. Pushing the limits of the press, only to wait, is better than a slow speed and a long flash. But once time is lost-it is gone forever. Calibrate the flash as recommended in this chapter, select ink as described in chapter three and use screen mesh recommendations from chapter two. You will be able to flash prints at 50 to 75 dozenper-hour. PAGE 5 . 23

Chapter 5
Flash: The Cost to Cycle Rate
100

Original Dozen per Hour No Flash

90 80 70 60 50 40 30 20 10 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Flash Time (delay) in Seconds

Figure 5.21 This chart illustrates the data in figure 5.20. As the time delay (due to flashing) increases, even the fastest cycle rates, decline. The left vertical axis is the original cycle rate (as though you were not flashing). It ranges from 10 dozenper-hour to 90 dozen-per -hour. The delay time for flashing is on the bottom horizontal axis, from zero to 15 seconds. The right-hand-side vertical axis indicates the resulting dozens-per-hour after the flash time is deducted. You may want to carefully read the whole manual, raise your price for flashing?or both. For example, find your cycle rate in dozen- per-hour on the left vertical axis for running a similar job without using a flash. Stay on that curve, moving downward and to the right until you are directly above the number of seconds-delay due to the flash. Now look straight to the right vertical axis to find your resulting cycle rate in dozens-per-hour.

The numbers in the body of the table are the dozens-per-hour you would net with flash delays. For example: if you could hypothetically run the job without a flash, you might run it at 50 dozen-per-hour. Find 50 on the far left column. When you flash, you have defective ink and it takes you eight-seconds to flash, find eight on the top of the table. Below eight and across from 50 reads 23.1 dozen-per-hour. Instead of 50 dozen-per-hour with no flash, you will get 23.1 dozen-per-hour with a flash, which consumes eight seconds. An awareness of this relationship may cause you to price differently, it may cause you to schedule differently, but we hope that it causes you to maximize your flash productivity. Test Your Settings Once you have established, time, temperature and wavelength you will want to test the fruits of your labor. You will need white ink, an imaged test screen for white ink, an ink knife, and some scrap dark garments. Since white is the most used ink and the most common color to flash, it will be used for our example. Set up the test screen and print white ink as you normally would, prior to a flash.
PAGE 5 . 24

Then next to the wet deposit, use the ink knife to feather a deposit wedge from thick to thin. The swatch should be an inch or so wide, descending in thickness over about five or six inches. At one end, it should be wafer thin, next to nothing. At the other end, six inches away, it should graduate to about oneeighth of an inch thick. Now visually compare the opacity of the printed white to the blade white swatch and mark the wedge of ink at the point where the opacity matches the print. Once the flash has reached temperature, index, being sure both the image and the swatch are under the flash. When the cycle is complete, freewheel the platen back to inspect the degree of gel on your printed ink deposit. There are three possibilities: 1. Both the ink wedge and the printed image are wet. 2. Both are totally dry. 3. Part of the wedge is dry and part wet. If Number One is your result, you need far more time and temperature. If Number Two describes your results, you are far over gel and should reduce time and temperature. Most of the time your results will be described by Number Three, the thin end of the wedge coating will be gelled and the thick end will still be wet. Now look at the marked segment of the wedge (having same opacity as your normal print) and inspect for how close to gel or how far over gel the wedge is. If your marked portion of the wedge is gelled correctly you are done. If not you need to adjust the time until it is so. Monitor Your Setting Now that you have your flash unit calibrated to the press and your print conditions, it is time to monitor its performance. Of the most common temperature indicators and probes, the one we recommend is the non-contact pyrometer or heat gun (see figure 5.22). Tapes do not react to infrared like inks do, so they

Flashing

Garment Impact on Flashing

Fleece may need to be flashed a little longer than T-shirts if they are printed at the end of a press run of Ts. If you engineer the press run strictly for fleece, you will find it actually may flash faster than Ts. This is due to the presence of more air space between the ink and the platen. 50/50 Ts take more thermal energy to elevate their temperature than cotton. Nylon garments take even more energy than polyester. Most bleed-resistant-ink technologies slow down print speed due to after-flash tack. Cotton has a high moisture regain-it holds water and in high humidity you will find that it takes more energy to flash because you are using part of the energy to heat the water. If you are scorching white shirts after the flash, it is probably due to some added material used in processing or finishing the T-shirt, as opposed to the fabric itself. Optical brighteners, acrylic sizing, pre-shrinking bulk chemistry and alkaline residue from an ineffective acid rinse, will all scorch and may discolor under excessive heat. If you are running acrylic Ts under a flash review the sections on minimizing the temperature. Leave a cooling station or two and select ink that will allow wet-onwet printing after one flash only.

PAGE 5 . 25

are ineffective at accurate readings. Donut probes do not react fast enough. With a pyrometer, use a stopwatch, because press dwell time is not an indicator of flash time; the dwell setting and the speed of the slowest squeegee affect it.

Chapter 5

Note that the heat gun is not totally precise, but it is very repeatable. There are many factors that affect its precision. A few of these are color, texture, gloss and angle of perspective. To accommodate these variances, the gun must be calibrated against standards that are available from the manufacturer of the gun. If you calibrate according to manufacturers recommendations the guns will give you repeatable information, as long as they are not exposed to excessive heat. Keeping the gun two feet away from the shirt will give you an adequate focus area of less than one-inch diameter to read the temperature and protect the gun. The time to take a reading is as soon as the press begins to index, when the garment is at its highest temperature. A pyrometer model with high limit reading and a laser pointer is preferable. This allows you to target the image accurately, and then stores the highest temperature in its memory. Index the press until the garment is under the flash and hit the stopwatch to begin your time.
Figure 5.22 The photo shows a non-contact infrared heat gun. As the flashed garment exits the flash, hold the gun very steady and aim it at the ink on the printed shirt. Your gun may have a targeting laser, and if so, precise aim is simplified. Heat guns are also available with maximum temperature indication. This is essential for logging the data accurately. The process-color print on denim is courtesy of Promotions Chicago.

As soon as the garment begins to exit, hit the watch again to stop the time. At a distance of no more than two feet, aim the gun at the garment as it exits from under the flash. The gun will retain the maximum reading in short term memory. Try to keep the exiting garment at a temperature between 145 and 155 (when taken with a non contact infra red pyrometer). Should the platens get to a temperature of 150 you may need to shut down or to incorporate a KoolMist (refer
PAGE 5 . 26

to page 5.19) or other cooling method. It is always wise to use an open station after the flash unit. One cooling station is understandable, but if you need two, you have a runaway flash. Excessive operating temperatures are a problem because the stability is compromised by room temperature. Any fluctuation has a great affect on the degree of ink gel. These fluctuations include drafts from open doors or windows that move over the surface of the panel or tubes. Pauses in production for any reason can lead to a dramatic swing in the temperature of the flashed goods. Finall there is the additive property, when you are using multiple flashes, a swing in one or more of these can lead to a 50 variance or greater exit temperature measured at the dryers end. Record the temperature at the beginning of the run, in the middle and at the end and use the table below to fine-tune the process. Multiple Flashes The difficulty in orchestrating multiple flashes is well known to anyone that has tried. There are some basic principles that will allow you to run multiple flashes, with a minimum of interruption. First and foremost, you should consider why you are using multiple flashes? Are you using flashes to repair ink or prepress conditions (refer to page 5.28 for details)? If this is the case, your problems are not created by the press-so it is illogical (and very expensive) to try to resolve them with the press. Still in the real world, you may need to get out of a jam temporarily, so read on.
Setting Multiple Flash Panels
Flash Panel Setting Flash 1 Flash 2 Flash 3

Flashing

Panel Distance Temperature Wavelength Max. Exit Temp. Ink Type Kool Mist Press Head Speed

0.375 (3/8) 950 3.7 m 150 Fastest Usually N/R Fast as Possible

0.375 (3/8) 900 3.9 m 170 Moderate Yes Fast as Possible

0.375 (3/8) 850 4.0 m 190 Slowest Definitely Fast as Possible

Note: the recommended distance on the Quartz and Zap flashes is 2.25-inches.
Figure 5.23 This table lists a starting point for flash settings and exit temperatures for Omni and Omni-Uni flash panels. The distance is standard at 3/8-inch. The temperatures start high and drop 50 per color, so the dosage can be at the shortest time possible. The maximum exit temperature can be controlled to an extent by a warm up cycle prior to setting flash conditions. It can best be limited by speeding up the press as production continues and the platens warm up. Put the fastest flashing ink in the earliest heads and always run the heads at top speeds. If you need to adjust, raise the temperature on the first flash by 25 increments and drop the second and third flash by equal amounts. PAGE 5 . 27

Always run the fastest gelling colors, earliest in the sequence. The first color is the most critical; establish the fastest rate on that color before you proceed to the second or third. Note the hotter you run the flash, the more it will demand you are consistent in your speed, room temperature, drafts etc. The closer you get to the panel, the less tolerant the setting becomes-you must set the flash distance (on a calibrated press) accurately, if the flash is to be close. Remember close is the only way to be productive when flashing. Be sure your ink has a minimal plasticizer level. Do not use plasticizer reducers or curable reducers to adjust the ink viscosity (refer to page 3.25 for details). Use a non-contact pyrometer to monitor platen-temperature-variance and document the results. To use the heat gun will require an extra person, but only for a short time. If the run is long, the extra body is a good investment. If the run is short, you shouldnt have a need. The table in figure 5.23 gives you starting ranges for up to and including three flashes. After three, you should consider revolver mode.

Chapter 5

Troubleshooting The Flashed Print

The purpose of the table on the oposite page is to facilitate problem solving (only a band-aid), so you can get on with the job at hand and continue production, allowing you to resolve the problem under less pressure. For example, when we suggest you add flash additive it is simply is a temporary fix to keep production going. You should obviously use the proper ink, but that is not often enough a real-world solution. All of the issues noted here are covered in the pages of the chapters on inks and flash.

Flash Curing With The Revolver Mode

The Gauntlet and Challenger presses have an optional patented Revolver mode, which bridges the gap between manual and automatic press operation. With the flip of a switch, the press can give you an unlimited number of flash stations and no need to cool for after flash. If you are short-run printing for very high margins and you truly need to expand your capability, then this is the mode of operation that will meet your requirements. The price paid for this capability is lower total productivity. Revolver mode runs at less than half of the typical speed of standard flash mode. Speed is the intended function of the Revolver mode only when compared to manual printing. If you are running high density, puff inks or a metallic colors, it makes flashing and cooling a simple task. It may be a solid solution for sampling or strike-offs, as opposed to keeping high production press bogged down with short runs.
PAGE 5 . 28

Troubleshooting The Flashed Print Symptom

Random problem. Ink not gelled at one end. Calibrate flash, no difference. Wet spot in center. Single platen problem. Ends of image wet. Overprint color variation. Slow flash time. Problem at start up. Heat build-up progresses. No room for cooling station. Problem with later colors. Cant flash one color. Pinholes in overprint color. Ink blistering. Printed ink growing. Color shift. Fluorescent tack after flash. Metallic after tack. Excessive shrinkage. Problem with wovens. Problem flashing fleece. Sectional problem. Horizontal bands. Need to flash more colors. Still confused?

Cause
Drafts cooling flash. Platen/flash uncalibrated. Press is out of calibration. Dish on platen. Platen out of calibration. Flash misaligned. Bad UB ink, too hot. Flash too far away. Flash, platens not warm. Excessive time. Color capacity. Additive temperature. High plasticizer level. Over plasticized under-base. Too hot for low bleed ink. Contains blowing agent. Too hot. High plasticizer tacky resin. Soft resin, hot plasticizer. Too hot. Platen is heat sink. Deposit too thick. Quartz tubes out. Quartz flash out of focus. Unique images. Multiple problems.

Action
Restrict drafts. Calibrate press and flash. Always calibrate press first. Resurface or replace platen. Calibrate platen; check press. Adjust flash, shorten image. Switch ink and drop time. Reduce distance to platen. Allow more warm-up time. Allow flash to cool, speed up. Add Kool Mist. Run fastest colors first. Add flash additive. Add flash additive to UB. Reduce time factor first. Cut time, change UB inks. Drop flash time, check dryer. Add flash additive. Run last, use KoolMist. Cut temp, or pre-shrink. Run double layer of cloth. Reduce deposit via press. Replace tubes. Reset flash distance 2.25. Run Revolver mode. Call M&R with results.

Figure 5.24 The table on the preceeding page lists three columns of information. The far left column is the symptom as you might observe it. Immediately to the right is the most probable cause of that symptom. On the right is the recommended action that will help alleviate the symptom temporarily.

The PLC (programmable logic controller) of the press can accommodate complex switching with the simplest keystrokes. The typical configuration is a flash positioned over the unload position, and one operator loads a series of shirts, one per platen. The Revolver mode controls all from there and emits and audible signal when the cycle is complete. The operator then unloads the press and loads another press full of shirts and the cycle continues. To verify if your press run qualifies for revolver mode ask the following questions: 1. Does the number of colors required to print the job dictate that you cannot flash or cannot flash enough?
PAGE 5 . 29

2. Can a change in art or sequence eliminate some of the flashing? 3. Have you optimized your flash conditions? 4. Have you considered a Kool Mist?

Chapter 5

5. Is the margin on the job high enough to permit a maximum productivity of 18 dozen-per-hour for two flash operations? 6. Is the run length short enough to not constrain your capacity? 7. Should you invest in an additional flash unit? Review the seven questions and if you still feel that the revolver mode is an equitable decision, then you may well be an ideal candidate for the feature. Referring to our standard case of a shop with $34,600 in total monthly costs, with one 10-color Gauntlet lets analyze the feasibility of running a complex job
Flashed Colors Platens 10 Platens 12 Platens 14 Platens 16

1 2 3 4 5 6

227 156 119 96 80 69

224 154 118 95 80 69

221 153 117 95 79 68

217 151 116 94 79 68

Figure 5.25 This table lists the number of colors to be flashed in Revolver mode on the far left column. It lists the number of platens on the press on the top row. The field lists the number of shirts per hour you can expect in Revolver mode. The flash times are typical, as are the squeegee speeds. The dwell setting is at a minimum. For example, if you are flashing two colors with one flash over the unload station, and you have a 10 color Gauntlet, you can expect no more than 156 pieces per hour. The data does not include setup or changeover times, nor does it include interruptive downtime.

using the Revolver mode. The shop runs 173 hours a month and can setup and changeover in precisely 30 minutes. They cycle in 3.5 seconds and take a cycle of 6.7 seconds for flash sequences. Their cost for half-an-hour of setup and changeover is $300 and they want to run one-hour of production. Here is the breakdown of pricing to ensure that they will make the same hourly rate for the ninety-minute interval on a contract print order. The Revolver mode is the natural bridge between the manual and automatic press but we have seen cases in the field that suggest it is being used on longer press runs to make up for inadequate print engineering. You may find that the cost of efficient print engineering is far less than the cost of slow production.
PAGE 5 . 30

Flashing
Sequenced Colors Max. Potential Wet-on-Wet Colors Maximum Per Hour Total Time Equivalent Cost Per Shirt

0 0 1 2 3 4 5 6

8 6 7 6 5 4 3 2

705 537 227 156 119 96 80 69

90 min. 90 min. 90 min. 90 min. 90 min. 90 min. 90 min. 90 min.

$0.42 $0.56 $1.32 $1.92 $2.52 $3.13 $3.75 $4.34

Figure 5.27 This table lists the number of sequenced colors in the far left column, Column One. Column Two holds the number of colors to be printed wet-on-wet. Column Three gives the maximum pieces per hour. Column Four list the total time of ninety minutes in all cases; thirty minutes for setup and changeover and one hour of production. Column Five lists the cost based on the preceding description. All costs would generate the necessary $300.00 for the ninety minutes of work. Row One does not sequence and runs eight colors wet-on-wet at a fair speed. Row Two does not sequence, but runs a flash at a fair speed and has one cooling station. Rows Three through Eight list the results of one through six sequencing modes. Several things become immediately obvious; the cost of a Kool Mist is incidental if it saves you one cool station that would cause you to sequence. You never want to run Revolver mode unless the only alternative is manual printing, and you have capacity on the automatic. If you do run Revolver mode, you want to be very certain of your costs, and then price accordingly (refer to Chapter Seven, Costs).

As an example of the range of relative costs based on cycle speed, we will use our standard case of a shop with $34,600 in total monthly costs with one 10 color Gauntlet and they want to see the results of running very complex work that demands Revolver mode. They run 173 hours a month and can setup and changeover in precisely 30 minutes. They cycle in 3.5 seconds and take a cycle of 6.7 seconds for flash sequences. Their costs for a half hour of setup and changeover are $300.00 and they want to run one hour of production. (Of course the faster they run the more garments they can produce in one hour of run time.) Any variance in productivity will impact the cost significantly. Their goal is to establish a price for their work, which neither gouges the customer nor causes them to lose money. To do so they must consider the cost and to resolve the cost, they must recognize the rate of production. Here is the breakdown of their costs so they can price to insure a profit at the same hourly rate for the ninetyminute interval on a contract print order.

PAGE 5 . 31

I. Cost Components Conversion Costs Raw Material Costs Fixed And Variable Costs Cost Estimating Cost Control vs Revenue Enhancement II. Conversion Rate Cost Control Double Stroke Squeegee Speed Flood Stroke Double Index III. RMC (Raw Material Cost) Control Line Items On General Ledger Whether To Add A Screen Or Not Recapping Raw Materials IV. Break-Even Operation E Short Run Lengths Long Run Lengths V. Resource Allocation And Dependencies Details Of Dependencies VI. Percentage Downtime vs Runtime VII. Measuring Performance VIII. Manual vs Automatic Press IX. Pricing X. Managing Production

Chapter

COSTING

Cost Components

Costing
Conversion Costs

Before you can do anything about pricing you must know your costs. Cost is the lower limit to pricing and what the market will bear is the upper limit. There are several elements of costs in your operation and these are briefly covered here. This is not a primer in accounting rather it is process engineering from a financial perspective.

Should I R esell The Garment?

The answer is an unequivocal and resounding yes, whenever possible. Part of the issue is the buyers are often too ambitious they will buy the shirts and save your (potential) profit. From the other end, the mills and particularly the cut and sew houses will sell case lots to virtually anyone so the buyers have access at the same price that you might pay. Whenever possible buy the garment and resell it at a profit in addition to the printing. But do not do it at the same or at a single percentage of profit. You may need a seventy-five percent markup on the printing to be comfortable. Such a markup would never clear your customers desk but a twenty percent markup might. If the printing costs you a dollar and you mark it up seventy-five percent it would be $1.75 of printing. If the garment costs $2.50 and you mark it up twenty percent the shirt sells to your customer for $3.00 plus $1.75 in printing. Your profit increment is fifty cents just for transacting the garment. Get the order in writing, foreword it to your vendor in writing, be very cautious about extending credit or be prepared to collect a debt owed, and sell the printed shirt whenever possible.

These are listed first because they are the most significant and include all of the associated costs of printing less the raw materials. These are the costs that really make or break a business. RMCs (raw material costs) all too often get more attention than the conversion costs because they show up as a line item on a General Ledger and are therefore very easy to identify. The business of monitoring and controlling conversion costs is the focus of this chapter. Raw Material Costs Ink, mesh, emulsion, masking tape and so on are the raw materials that you purchase and convert into a printed garment. It is the RMCs that have been pushed too far by those who dont look at the whole of the costing process. RMCs are so identifiable and it is simple to assert blame, that cost control is far too often seen as a competition between those who print and their partners who supply them. To reduce downtime and to improve quality is the goal and any raw material that supports that goal has inherent value. If you push the supply vendors too hard you will take away their ability to service your account. Perhaps it is time to focus internally on the conversion costs? Fixed And Variable Costs Controlling the relationship between fixed and variable costs is critical to the success of your company because it mitigates the feast and famine cycle of garment printing. Simply put, variable costs show an immediate change with a change in

PAGE 6 . 3

production and fixed costs do not. So your variable costs include ink, mesh, emulsion and your common supply items. Also included are utilities, commissioned sales and direct and indirect labor.

Chapter 6

Fixed costs consist of mortgage and lease payments, insurances G&A (general and administrative) costs. This is where the problems can be very difficult to foresee and to resolve. If your organization is top heavy, with too much fixed cost allocated to top management, you will have severe problems when the slow season arrives. All of the business clichs such as lean and mean and flatter is better are not talking about labor or variable costs, they are talking about reducing the number of layers of management to a practical minimum. Cost Estimating Your accountant at months end can tell you how you scored for the month with reasonable accuracy. However, it is still prudent to estimate cost so an appealing yet profitable price can be determined. With a variation on the theme of activitybased cost accounting, we will show you how to determine a break even on a given job. Break even is the point between loss and profit. Charge more than break even for a job and you make a profit, charge less and the job will be a loss. Cost Control vs Revenue Enhancement In directing your business it is critical to communicate effectivelyit is especially important in this area. The culture and conduct necessary to control costs differ dramatically from those needed to enhance revenue. Of course all of us want both, but when guiding the minutia of decisions made during the workday, it is critical not to send mixed signals. Your staff may see it as We are supposed to make a beautiful print without the right tools. Middle management might think they are supposed to increase productivity and need, but cant get, more labor. Top management needs to take a position and stay with it or risk frustration, reworks and high scrap rates. The cost of trying to accomplish both is enormous and immeasurable. This manual is intended to help you approach minimal costs and to maximize productivity, pricing must make up for the rest.

Conversion Rate Cost Control

There are a number of things that you can or not do in a workday in production that can make or break your program of cost control. The first of these listed
PAGE 6 . 4

below is double stroke. It is a production survival switch on every M&R automatic press that can bail you out of extensive downtime. But the cost is that production runs slower. The press allows you to double stroke; this manual helps you to eliminate the need to double stroke and this chapter tells you the consequences of such an option. With the same tools that your staff is using, double stroke is probably a necessity. Our advice is that you need to get them better tools. Double Stroke The reason that this appears in a chapter on pricing and productivity is that it represents several habits that the operator may have that adapt to poor quality print engineering. Double stroke and running the shirts around the press more than once are counter productive and should be used only as intended. Double Stroke is an excellent opportunity to get out of a jam caused by improper print engineering. It will allow multiple squeegee (and flood) passes at the flip of a switch. So if you need a bit more ink, a flip of the switch and you increase the deposit. There are a few trade-offs for this luxury not the least of which is the loss of production. The second warning regards double stroke while flash curing. Refer to page 5.23 for details on flash curing but note that a double stroke is arguably the worst thing that you can do to a flash job. It causes (or worsens) over flashing and after tack. Temperature and time is the key to gelling the ink under a flash unit and when the time is increased for a double stroke, the results are a problem. After tack runs rampant and the ink tends to over flash creating a problem with any overprint colors. If the run length is short enough, you may opt to run at a slow speed. Always try to run the fastest blade speed practical for your conditions. If you are forced to double stroke (refer to page 4.44). The best approach is to utilize a second screen to gain the deposit required particularly if you have to flash. The double stroke cycle is as follows: 1. Index to next station. 2. Begin to flood and raise indexer. 3. Print first stroke. 4. Drop indexer but do not index to next station. 5. Begin to flood and raise indexer.

Costing

PAGE 6 . 5

6. Print second stroke.

Chapter 6

7. Drop indexer and repeat process. A double stroke adds steps number 5, 6 and 7 to a single stroke print. Lets say that raise and lower takes one second and a print stroke can take from one to three seconds. The actual cycle rate is a combination of preset dwell time, air volume and squeegee speed. Refer to page 6.37 to learn how to establish actual cycle rate in dozens per hour. The following table gives the cost in dozens per hour for using this feature.
Double Stroke And Productivity Dwell in seconds Target Speed (dz./hr.) Fast Blade (1 sec.) Medium Blade (2 sec.) Slow Blade (3 sec.) 10 30 25 23 21 7.5 40 31 28 26 6.0 50 37 33 30 5.0 60 42 37 33 4.2 70 48 41 36 3.7 80 52 44 38 3.3 90 56 47 41

Figure 6.1 This table lists an arbitrary dwell time in seconds on the top row. Below that it converts time into dozens-perhour. Actual cycle rate is a combination of dwell time and squeegee speed. The table shows the results in dozens-per-hour. Shown with three blade speeds; fast, medium and slow and at one, two and three seconds respectively. Figure 6.2 This chart illustrates the cost to productivity, one when you double stroke and two when you double stroke with various squeegee 90 speeds. The plot shows the M&R 80 blue cycle rate from 30 to 90 dozen 70 per hour with a single stroke. There 60 are three lines below. The black 50 shows the results of a double stroke 40 and a fast speed. The brown shows 30 double stroke and a medium speed. 20 The red shows slow blade and double 10 7.5 6 5 4.2 3.7 3.3 stroke. Of course just running double stroke does the greatest harm. But Single Stroke Dwell Time In Seconds the worst end for percentage lost is if you could be running at a high single stroke speed. For example if you would run at 70 dozen per hour and you decide to double stroke you will drop to approximately 48 dozen per hour if you run a fast blade on the double stroke screen. Should you run a slower speed blade you will drop to 40 dozen and slower yet you get 35 dozen per hour. This is a loss of 50% from the single stroke speed.

Double Stroke And Productivity

Like the Cycle Rate of the press, a faster blade speed is preferable but do not forget the parable of the tortoise and the hare. If going fast means that you have to wait to wipe or repair screens, clean up or replace rejected garments, then slow down per print and you will gain in the long run. It is probable that your
PAGE 6 . 6

Cycle Rate Dz/Hr.

squeegee speed right now is as fast as it can be. This is the case in most shops. The reason is simple, speed on a Gauntlet or Challenger is simply a turn of the dial to alter small or large increments. So adjusting the speed is not the issue, it is the fact or limits or constraints. There is something or many barriers to higher

Costing

Figure 6.3 This photograph shows the Challenger II control panel. In order to get top production you must run all heads on single stroke. Double stroke is for emergencies if and when you are not prepared. To use it means that your production will run slower. To find our how much slower your production will be, look to figures 7.1 and 7.2.

speed. Your calibration, screen mesh, inks and blades have to be in order to permit high-speed operation. But not only is it simple to do, it is documented in this manual. Although flood bar speed has no direct impact on production rates, it allows the squeegee to run at an optimal speed and the squeegee speed becomes incrementally more important as the run length increases. Squeegee Speed The following table details what happens to your productivity as the speed of the squeegee blade is changed. Refer to page 6.39 of this manual to establish the relationship between cycle seconds and dozens per hour of production. The top row lists actual cycle time in seconds. The row immediately below converts that time into a targeted or top rate dozens per hour. Continuing downward, the next row
Squeegee Speed And Productivity Dwell in seconds Fast (1 sec.) Medium (2 sec.) Slow (3 sec.) 10 30 27 25 7.5 40 35 31 6.0 50 42 37 5.0 60 50 42 4.2 70 57 48 3.7 80 63 52 3.3 90 69 56

Figure 6.4 This is a table of what happens to productivity with a change in squeegee speed. The top row lists the initial dwell time in seconds. Immediately below is the resulting dozen per hour at the above dwell, this is the target rate. It is repeated in the next row labeled fast. Which is obtainable with a fast squeegee. The two rows below, labeled medium and fast give example to the change in production with a change in squeegee speed. PAGE 6 . 7

is a fast blade speed of 1 second and the dozens match the row above, at top speed there is no loss of productivity. The row below is a medium speed or two second stroke and to its right is the resultant production. Finally at the bottom are the results of a slow blade speed. You can see that an actual dwell time of 5 seconds can yield 60 dozen per hour with a 1 second blade speed. At two secSqueegee Speed And Productivity 90

Chapter 6

Cycle Rate In Dz/Hr....

80 70 60 50 40 30 20 10 7.5 6 5 4.2 3.7 3.3 Dwell Time In Seconds

Figure 6.5 This chart compares three squeegee speeds fast, medium and slow to their affect on productivity in dozen per hour. The M&R blue shows speeds of 30 to 90 dozen per hour. This is what will happen with a fast squeegee speed. The brown line shows the same range if your squeegee speed is set at medium. Finally the red line shows what happens with a slow blade speed. For example a fast speed with a dwell time of five seconds will produce sixty dozen per hour. If that blade was slowed to medium you would lose a second and net fifty dozen per hour. If the speed was slower yet (by one second) you would net just over forty dozen per hour. The cost can be nearly twenty dozen per hour. Note that at higher initial speeds, the result of only one slower blade has a far worse affect.

onds, the maximum drops to 50 dozen per hour and at a three second slow blade speed the best case is 42 dozen per hour. The following checklist will help you to maximize your squeegee speed and as you can see from the table above it will increase your productivity: 1. Put a third person on the press when ever possible (refer to the how-to on page 6.30). The caddy will go to the slowest head and announce then increase its speed. Then the caddy can maneuver on press to prevent and sort out any minor problems before they lead to major downtime. 2. Use the thinnest mesh thread in plain weave (refer to page 1.5). This will permit higher blade speed when using quality ink. Thinner threads decrease the level of resistance on the ink, allowing it to transfer easily even at high speeds.
PAGE 6 . 8

Costing

3. Use the flattest mesh available (refer to page 1.17). As the mesh becomes flatter the shear rate is increased and you can run at higher speeds. 4. Insure adequate tension levels (refer to page 1.33). Tension should accommodate the off-contact distance but it must be at a minimal level to transfer the ink at any part of the screen.

Figure 6.6 Shows the squeegee speed controls conveniently located on the press arm of each head. The use of a third operator means that the production of each color can be taken to an optimum during the press run, without interrupting the loader. For a review of the impact that the adjustment can have, look to figures 7.4 and 7.5.

5. Maintain adequate air pressure and scfm (standard cubic feet per minute) to press. (Refer to user manual supplied with your Gauntlet or Challenger press.) M&R service will guide you through airline configurations, chiller applications, compressor purchases and air supply. Virtually all of your questions should be covered in the manual.
PAGE 6 . 9

Chapter 6
How To Instructions

Achieving Fast Set-Up

To achieve faster set-up times use the following steps: 1. Use a Tri-Loc registration system. 2. Calibrate your press regularly. 3. Set up teams of at least two persons. 4. Assign specific jobs to staff and cross train. 5. Mix colors 72 hours before job. 6. Prep screens 24 hours before job. 7. Art should have sufficient trapping. 8. Have a back-up set of blades.

6. Use low tack level inks (refer to page 3.27). Excessive ink tack is the enemy of high quality and high production. Tack and viscosity are covered in detail in Chapter 3. 7. Use the flood stroke to optimize the squeegee speed (refer to figure 6.38). The flow properties of each color, even within an ink series can differ dramatically. The floodbar can help stabilize the flow of the ink and maximize the squeegee speed.

8. Rotate your load and unload positions every twenty minutes (refer to page 6.37). The caddy should be brought into the load and unload scheme every four hours of operation. 9. Dont kid yourself, if you are double stroking on any of the colors, squeegee speed except for that single head is irrelevant (refer to page 6.8). Flood Stroke For complete details on the flood bar and its purpose refer to figure 6.38 for details. Simply it is to return the ink from one end of the screen, where the squeegee put it, to the other end where again, the squeegee can move it. It is not intended as an initial print stroke. It only serves to rip the mesh if it is in contact with the mesh. It does not directly affect output like the squeegee blade but to learn more about how it can boost production refer to page 4.46. The chapPAGE 6 . 10

ter covers inks and by using the floodbar to pamper and coerce the inks, the flood will indirectly boost productivity. Double Index There is a great deal of confusion surrounding the option to double index. It is an exceptional feature standard on all Gauntlet and Challenger presses but intended for a niche of production. Before you plan to do wondrous things to your productivity, first consider who the double index feature is intended for; 1. Presses with high color capacity. 2. Presses with 2 load and 2 unload stations. 3. Extremely long runs. 4. Extremely well engineered printing conditions. 5. Minimum two extra persons on press. 6. A dryer / press configuration that permits double load and unload. 7. Two jobs that fit on press at the same time and the same run length. Example: a two-sided job. We will offer a two-sided job of four colors per side and no flashing as an example of double index. The press is a twelve color with ten heads. The last two heads have been removed to accommodate a second load and unload station, and it is to be set up as follows. We are going to run only five shirts of each design or each side of the tee shirt. In normal operation one garment is loaded and the press indexes, raises and the heads print and the indexer lowers and is ready to index again. With double index, the press indexes, lifts, lowers indexes, lifts and then the heads print. The indexer lowers and prepares to index again. The advantage is that with two more persons on press, you can be producing two sides at a rate that is typically 30% faster than running one side and then a second side. If the job is simple and very long, it may be worth the effort. The actual speed will depend on your squeegee speeds; lift cylinder timing and dwell times as well as the air volume and pressure supplied to the press.

Costing

PAGE 6 . 11

Chapter 6
Double Index Mode P B2 P A3 P B3 L A
Index 1 Index 2 Index 3 Index 4 Index 5 Index 6 Index 7 Index 8 Index 9 Index 10 Index 11 Index 12

L B

P A1

P B1

P A2

P A4

P B4

P A5

P B5

U A

U B

A1 A2 A3 A4 A5

B1 B2 B3 B4 B5

A1 A1 A1 A1 A1 A1

B1 B1 B1 B1 B1 B1

A2 A2 A2 A2 A2 A2

B2 B2 B2 B2 B2 B2

A3 A3 A3 A3 A3 A3

B3 B3 B3 B3 B3 B3

A4 A4 A4 A4 A4 A4

B4 B4 B4 B4 B4 B4

A1

B1

A5 A5 A5 A5 A5 A5

B5 B5 B5 B5 B5 B5

A1 A2 A3 A4 A5

B1 B2 B3 B4 B5

Figure 6.7 The table above shows one complete cycle of two images run simultaneously as a double index order. L means load, P stands for print and U means unload. The first job is A and the second is B they are each five color images (a front and back as an example) and running on a twelve color Challenger press. Index is noted on the left hand column and marks the times that the press indexes. The field of data shows the stage of production. At index number twelve, you would have five completed shirts (on both sides) and could begin to reload two more shirts, one front and one back.

RMC (Raw Material Cost) Control

It will behoove you to control your raw material coststhe point is to control them wisely. If your best price is on a low solids emulsion, a mesh with imbalanced stress strain curves, an ink that builds up or an ill-engineered blade you may be getting the best price but you are doing your company a disservice. Line Items On The General Ledger You or your purchasing agent know that if you cut costs by a dollar, it goes directly to the bottom line and it therefore becomes profit, virtually all of it. Before you push too far in this singular direction you may want to review the contents of this manual. It makes recommendations not on the cost of the raw material or supply item but on the value of that product to your goals of higher productivity and better quality. Some comprehension of what these products do is needed to help you make the best decision as to the value of the product. We are not recommending that you arbitrarily pay more but that you consider the ramifications of your decision on productivity and quality.
PAGE 6 . 12

Costing
Whether To Add A Screen Or Not There is a real world issue that plagues those who print short run darks whether to run one or two white screens. The debate has been around a while because the answer is not intuitive but let us explain. There are four possibilities to get a better white (when one hit isnt enough) with screens, strokes and flash: 1. Print, flash, print and flash. 2. Second screen, one flash. 3. Double Stroke. 4. Revolver Mode. The first one will use two white screens and give you exceptional results at top production speeds for any run length. Number two will give you better than one hit results at top speed but not as good as the first option. Number three will improve the white but will cost you a nominal third of your productivity (see page 6.5). The fourth option is an M&R exclusive but is not designed to be the best solution here. The Revolver will run at a fraction of the standard Gauntlet or Challenger speed. So how do I know when to use a second screenthe answer is simple but based on several variables: 1. Time it takes to set up the second screen. 2. Standard production rate in dozen per hour. 3. Increase in productivity with second screen. 4. Profit per print in dollars. 5. Screen cost in dollars. The decision is to be based primarily on a twofold question; how long did you delay the press to set up the additional screen and how long will it take you to make up for that downtime at the improved rate? The profit and the cost of the screen are truly secondary to the decision. To make the reality obvious to all, lets take a very conservative scenario. We have used a cycle rate on a Gauntlet (or Challenger) of 45 dozen per hour. We suggest the increase in productivity is only 10% over double stroking. We allow 5 minutes to set up and changeover the second screen.
PAGE 6 . 13

So in our scenario you would want to use a second screen for any and all orders over 523 pieces. The series of five graphs below detail how each of the variables impacts the decision to run a double stroke or worse or to use a second screen. Of course the entire profile is predicated on the basis that you do want a better white. You may choose to run a single stroke and ship the product, the choice is yours but if you are not satisfied, we want to help you make a measured decision.
Figure 6.8 This table shows Example 1 data used in the next five graphs to exemplify the impact of each of the variables on the decision to double stroke or to shoot a second white screen. The scenario indicates that under 523 pieces, a second white screen would be questionable. This is due to a low percentage increase (10%) with the second screen. Refer to page 6.17 for Example 2.

Chapter 6
Variable Example 1

Cycle Rate (dz./hr.) Percentage Increase Set Up / Changeover (mins.) Cost Per Screen Gross Profit Breakeven Production Only Breakeven Screen Cost Only Breakeven Total

45 10% 5 $7.00 25 495 28 523

Variable: Screen Cost

Min. Run Length To Justify 2nd White Screen

1,000 900 800 700 600 500 400 300 200 100 $4 $5 $6 $7 $8 $9 $10

Dollars Per Screen

M&R has designed and engineered features specifically to let you reduce your downtimeset-up is a key factor in the downtime equation. Leading the list is the TriLoc registration system. The screens can be simply and quickly loaded from the front of the press with no tight fits. Standard on the presses are pneumatic screen locks as well as pneumatic squeegee and flood bar locks. No tools are needed for changing or adjusting the position of the platens. Likewise you will not need tools for setting the off-contact distance or adjusting the angle of either blade.
PAGE 6 . 14

Figure 6.9 This chart graphs the insignificant cost of reprocessing a screen and its impact on the decision whether or not you should shoot an extra screen to get better looking white ink images. The nominal cost of reprocessing a screen is estimated to be between $4.00 and $7.00. This includes, wash-up, reclamation, degreasing, coating, exposure, development and touch-up. It amortizes typical costs of mesh and frames. The fairly wide swing from four to seven dollars is due primarily to coating costs, the screen mesh and type of frame. As the graph shows, the cost of the screen has little impact on the minimum run length where you should shoot a second screen.

Costing
Variable: Gross Margin
Min. Run Length To Justify 2nd White Screen 1,000 900 800 700 600 500 400 300 200 100 $0.10 $0.20 $0.30 $0.40 $0.50 $0.60 $0.70

Margin Per Print

Figure 6.11 This chart plots the cycle rate against the break even run length for determining whether or not to use a second screen or to double stroke. If it appears to you that the faster you go, the worse it gets it is true but the reason is simple. The bulk of the cost is related to the time it takes to set up a screen. The value of that time is the cycle rate that could be in place if we werent setting up that screen. There are a few considerations however. First we are talking about short runs where the cycle rate is far less important than the downtime. It is unlikely that you will run at or near top press speed (refer to figure 7.37 for details). Second if you are double stroking, you just cant run very fast as you may discover when you look at figure 7.2. Third as you increase in speed the value of time improves. Still the overall impact can be significant.

Figure 6.10 This may dispute the normal business sense because it shows that the gross margin per print has little to do with minimum run length. Therefore it has little to do with the decision to double stroke the white or to shoot a second screen. The range of profit is from 10 to a high of 70 and yet the commensurate change in the break even run length is minimal. It improves slightly as the profit approaches zero. So the profit is not the answer to our question.

Variable: Cycle Rate

Min Run Length To Justify 2nd White Screen 1000 900 800 700 600 500 400 300 200 100

25

35

45

55

65

75

85

Dozen Per Hour

The presses include front and rear micro register to let you fine tune even if the frame is not agreeable. Once you are ready to proof a print, simply flip the switch to test mode and one garment only will index and print only at the proper times. If you consider a high screen cost and low profit, $7.00 and 10 each but use a Tri-Loc to register and set up in 3 minutes, run at 45 dozen per hour since the run lengths are small and expect an increase of 35% over a double stroke, the break even number of pieces is 174. So anything over 174 pieces warrants a second screen.
PAGE 6 . 15

Variable: Percentage Cycle Rate

Min. Run Length To Justify 2nd White Screen 1000 900 800 700 600 500 400 300 200 100 10% 15% 20% 25% 30%

Chapter 6
35% 40%

Percent Increase In Cycle Rate

Figure 6.12 This chart cuts to the core of the matter as it plots cycle rate in dozens per hour against the break even run length. If you anticipate a 10% increase in productivity with a second white screen your minimum is over 500 pieces. Conversely if you anticipate a 40% increase with a second screen, you will find that your minimums are below 200 pieces (in example number one). This is one of two facets that will have a very serious impact on your decision.

Figure 6.13 This photograph shows the results of an extra white screen and all single strokes printed on a Challenger press. One white screen would not give the coverage or surface needed. A double stroke would have cut productivity. The second screen was added and the job ran at over 750 pieces per hour. This HiRes AccuColor garment compliments of Target Graphics Ltd..

PAGE 6 . 16

Costing
Variable: Set Up Time
Min. Run L:ength To Justify 2nd White Screen 1000 900 800 700 600 500 400 300 200 100

Set Up and Changeover Minutes

Figure 6.15 Example 2 similar to Example 1 (figure7.8) with only two elements changed; the percent increase was 10 percent and is now a far more realistic 35 percent. You may want to refer to page ___ for details on the cost of a double stroke. Also the set up time went from 5 minutes to an impressive 3 minutes. With these two changes, the minimum run length is 132 pieces.

Figure 6.14 This is the final plot and has by far the greatest affect on the decision whether to double stroke or to use a second white screen. If you can set up in two minutes (of course you would need a Tri-Loc, well engineered art and screens, a calibrated press and a trained staff) your minimum run length would be just over 200 pieces. If at the other extreme it takes you eight minutes to set up your minimum run length at a 10% increase in percentage of cycle rate is over 800 pieces.

Variable

Example 2

Recapping Raw Materials

Cycle Rate (dz./hr.) Percentage Increase Set Up / Changeover (min.) Cost Per Screen Gross Profit Breakeven Production Only Breakeven Screen Cost Only Breakeven Total

45 35% 3 $7.00 25 104 28 132

Sometimes there is a gap between those with the authority and those actually doing the work. What the most successful shops have in common is that they have eliminated (or at least reduced) that gap. To know which of your materials has a greater value you will have to test and record the data. Please only change one variable at a time and dont assume that if I swap one mesh for another that it will fit ideologically into the slot that I have provided. If you want to test fairly you will have to tailor your recipe to accommodate the new ingredient. If you are curtailing costs, it may be the best thing that you can do. If you to zealous in the job of cost cutting then it may come back to haunt you when you go to press.

Break-Even Operation
Our hypothetical company has one automatic press, runs at 75% of annual capacity for eight hours a day, five days a week. Its monthly overhead is $34,600. We have varied the set up times and cycle rates independently to show the effect
PAGE 6 . 17

Chapter 6
How To Instructions

Making Faster Changeovers

To increase the speed at which you can make changeovers follow these steps: 1. The last job comes to an end. 2. Loader removes the squeegee and floodbar from head number one. 3. Loader removes screen from head number one. 4. Put screen aside until later. 5. Loader goes to head number two and repeats. 6. Unloader begins to set up head one. 7. Have backup blades ready. 8. Since setup has begun, changeover has ended. 9. Changeover takes two minutes regardless of the complexity of the job.

that these changes have on both the minimum run length and the break even price. Minimum run length identifies the quantity of tees that you need to print to break even. The percentage of capacity is the amount of the year that you are operating at average rates versus the time that you are operating at less than average. Simply put, if you operate at 100% for the first two quarters of the year and at 25% during the slow season, your percentage of plant capacity is 75%.

Break even operation is that point between profit and loss. If you make a profit buy cutting costs, increasing the price or both, then you are profUnits Pieces Dollars $34,600 173 (5 days-per-week of eight-hours) Minutes Pieces Dozen Per Hour 75%

Variables Run Length Breakeven Point Monthly Overhead Total Hours Per Month Worked Set Up (includes changeover) Minimum Run Length Cycle Rate (in dozen-per-hour) Percent Plant Capacity (annualized)

Figure 6.16 This table lists the variables used to compute our break even point on the left side and their units on the right. Our hypothetical shop has an overhead of $34,600 per month and works straight time. The year-end plant capacity is 75%. All other variables are used as such and solved for in the tables below.

itable, no longer at break even. If you are at break even and lose due to higher costs, lower pricing or both then you suffer a loss. The only to be extremely prePAGE 6 . 18

cise and accurate in your cost estimate your costs are to gather a lot of actual data on set-up and changeover times cycle rates and productivity. Amass a history of ink consumption, per mesh and design. Consider the impact of capacity and labor utilization as well as seasonal trends. To evaluate the cash position and cost of money as factors in your costing. With this effort, you can be reasonably certain of your costs. What we offer here is a short and sweet estimate of the break even costs and minimum run lengths of a hypothetical company. Short Run Lengths The run lengths listed here are 288 pieces and under. The lesson is to compare the effects on the break even as well as the minimum run length as the set-up time and the cycle rate of production are varied. You will clearly see that the effect of the set-up is most critical. Later we will cover the same lesson with 3600 pieces run lengths. The needs of short and long run lengths differ greatly. How great is just the point of this exercise.
Breakeven Point Monthly Overhead Hours per Month Set Up Time Min. Run Length Cycle Rate (dz/hr) Percent Plant Cap. $1.75 $36,400 173 90 288 60 75% $1.52 $1.29 $1.06 $0.83 $0.60 $0.48 75 60 45 30 15 7.5

Costing

Figure 6.17 This table lists short run costs as affected by set-up time. The darker gray areas mark the chaining variables in the series of tables. The lighter gray areas mark the variable areas compared here and in the graph below. You can see the cost drops dramatically as the set-up time is reduced. For example if your set-up time is 45 minutes and drops to fifteen minutes, the break even plummets from $1.29 to $0.60 each. This is over a 50% reduction in the break even point. Reduction in setup time is one way to improve your ability to bid on the short runs. Figure 6.18 This chart illustrates what happens to the break even point (that position between profit and loss) with a change in setup time. In our scenario the break even plummets as the setup time decreases. The range is a high of $1.75 to a low of $0.48 and it is controlled by the setup time. Refer to page 6.18, figure 6.16 for the list of variables which apply to this profile.

Variable Set Up Time To Achieve Breakeven Breakeven Point

$2.40 $1.90 $1.40 $0.90 $0.40 90 75 60 45 30 15 7.5

Set Up / Changeover In Minutes

PAGE 6 . 19

Breakeven Point Monthly Overhead Hours Per Month Set Up Time (min.) Min. Run Length Cycle Rate (dz./hr.) Percent Plant Cap.

$1.43 $36,400 173 45 288 30 75%

Chapter 6
$1.25 $1.13 $1.06 $1.01 $0.97 $0.94 40 50 60 70 80 90

Figure 6.19 This table illustrates short run costs as affected by press cycle rate. Although the cost drops and it is appreciable, it is not nearly as impressive as the cost savings from a reduced set-up time. For example if your cycle rate is 50 dozen per hour and you improve to 60 dozen per hour the savings goes from $1.13 to $1.06. Reduction in setup time, not an increase in cycle rate is the best way to cut costs on the short runs.

Variable Cycle Rate To Achieve Break Even Breakeven Point

$2.40 $1.90 $1.40 $0.90 $0.40 30 40 50 60 70 80 90

Cycle Rate In Dozen Per Hour

Figure 6.20 Because the graph profiles a short run order, the cycle rate has little affect on the break even point. Of course the point will descend as the cycle rate increases but the descent is very gradual. For short runs the key to minimizing the break even point is not the cycle rate. Refer to page 6.18 for the list of variables, which apply to this profile.

Breakeven Point Monthly Overhead Hours Per Month Set Up Time (min.) Min. Run Length Cycle Rate (dz./hr) Percent Plant Cap.

$1.75 $36,400 173 90 288 60 75%

75 240

60 192

45 144

30 96

15 48

7.5 24

Figure 6.21 This table lists the minimum run length as affected by set-up time. The break even point is frozen at $1.75 per print. You can see the minimum run length drops dramatically as the set-up time is reduced. For example if your set-up time is 45 minutes and drops to fifteen minutes, the minimum run length plummets from 144 to 48 pieces. This is a 67% reduction in the run length. Reduction in setup time is one way to improve your ability to print shorter runs at a fixed break even. PAGE 6 . 20

Costing
Min. Run Length
300 250 200 150 100 50 0 90 75 60 45 30

Variable Set Up Time To Achieve Minimum Run Length

Figure 6.22 With a fixed break even point of $1.75 per print, the setup time has a major impact on the minimum run length to achieve that break even. A fifteen-minute setup would allow you to meet the break even in forty-eight pieces. Refer to page6.18 for the list of variables, which apply to this profile.

15

7.5

Set Up / Changeover In Minutes

Breakeven Point Monthly Overhead Hours Per Month Set Up Time (min.) Min. Run Length Cycle Rate (dz./hr.) Percent Plant Cap.

$0.97 $36,400 173 45 288 30 75%

196 40

152 50

144 60

138 70

135 80

132 90

Figure 6.23 Listed are the minimum run length as affected by press cycle rate. The break even point is frozen at $0.97 per print. You can see the minimum run length drops gradually as the cycle rate increases. For example if your cycle rate is 50 dozen per hour and you improve to 60 dozen per hour, the minimum run length only drops from 152 to 144 pieces. Reduction in setup time, not and increase in cycle rate is the best way to reduce the minimums with a fixed break even.

Variable Cycle Rate To Achieve Minimum Run Length Min. Run Length
300 250 200 150 100 50 0 30 40 50 60 70 80 90

Figure 7.24 At a $0.97 break even point the cycle rate haws a significant impact only if you are running very slowly, under fifty-dozen per hour. After that the increase is not significant when compared to changes in the setup time. Refer to page 6.18 for the list of variables, which apply to this profile.

Cycle Rate In Dozens Per Hour

PAGE 6 . 21

M&R F eatures F or Top Pr oduction Speeds

M&R has loaded features on the Gauntlet and Challenger presses so that you can run at top production speeds. The Mosier air cylinder that is at the heart of the press has been time tested for excellent performance. Its operational speeds justify the use of automatic loading and unloading. The shirt detector is the perfect training aid and even with a seasoned veteran, it can help raise the level of productivity without any increase in rejection. The detector senses when you miss a platen and dont get a shirt loaded in time. That platen is automatically skipped through the cycle and the operator doesnt have to respond or stop the press. Independent squeegee and flood bar speeds allow you to maximize the productivity and still pamper the ink. Front and rear stroke lengths adjust (available on the Challenger series presses) allow you to shorten the stroke to fit the job. As this chapter illustrates, the stroke and speed of the blade can help or hurt production.Air regulators and gauges for squeegee pressure control are available as an option on all M&R presses. This allows you to tailor the pressure to the job. It resolves the problem of premature screen breakdown by allowing you to only use the force needed.

U Set-Up Time

Chapter 6

M&R engineering has taken a long hard look at the reduction of downtime and responded with a wide range of standard features, accessories and attachments. Features such as The Tri-Loc registration system, (see page 4.48) enables you to drop your minimums and keep the press running even on the shortest orders. Pneumatic screen clamps, squeegee and floodbar clamps, make setup a simple matter of flipping a switch. The Challenger II comes standard with pressure control on the squeegees. Rear Micro Register is available for those tough or twisted jobs that refuse to cooperate (see figure 6.18). Setup and changeover is critical for all work but most important in short run lengths. Following is a list of steps to be taken to insure the best use of the press and to minimize set-up time: 1. Always have a readied set of screens for the next job, just in case. Make them twenty-four hours ahead of time, they wont cost you more and it wont take more effort, only a decision to do so. 2. Keep your press in calibration (page 4.15). Press calibration is the heart of the system, the foundation upon which you will build your quality and productivity, dont shortchange it. 3. Have clean squeegees and floodbars ready at the press. Never hold your press from running while you clean up anything, it is too valuable. One back up on floodbars may be sufficient but if you follow our prescription, you will use two durometer blades so two back up sets is the best investment. 4. Make color matches the day prior to the run. For no more effort, and a bit of planning you should never have your press waiting for a color or color match. 5. Strike off all color matches for prior approval. Use your Chameleon or other manual press to pretest the color before going to press. The potential for a manual to compete against an automatic is near zero. Use your manual effectively to free time on the automatic.

PAGE 6 . 22

Costing

6. Have all paperwork at press side the morning of the run. This is a clerical function and should never keep the press waiting. 7. This is not the time to clean up the press. Do all of your maintenance and cleaning before or after regular production hours. 8. This is not the time to changeover the press. Changeover should take no more than two minutes, regardless of the complexity or length of the job. (Clue: the press can only be in one mode at a time; idle, setup, production or changeover.) 9. Keep and file time logs of all press activity. Without time logs you have no real way to gauge your performance. Improvements wont be appreciated and counter productive activity will be tolerated. 10. Standardize stroke, flashes, blades, off contact and placement. Unless the step adds value to the printed garment, try your best to eliminate it from your regimen. By setting the press at a home calibration point, you can alter as needed, but always can return home. 11. Make all bodies available to expedite set-up. If the press is your sole source of revenue, then there is nothing that is more important than making sure that it is operating at its maximum efficiency. There are times when you will want to throw labor at the problem.

M&R F eatures (Continued)

Quartz flash units feature no warm up and accommodate the highest production in the industry. Peel adjust (available on theUltimate and Formula presses only) is a feature that can save a job on press. It can allow you to compensate for a wide range of inequities with the turn of a knob. Finally our low profile platens permit high-speed loading with a minimum of operator fatigue. M&R presses are not just for the best quality printing but for the top productivity as well.

Changeover

Changeover more lovingly called tear-down should never take more than two minutes even if the job is a fourteen color! Have one person go to the first color head and remove the screen, the floodbar and the squeegee. Get them out of the way so that the next person can immediately begin set-up. Now the changeover and set-up run concurrently. As soon as one is done with changeover, he should help complete set-up. With quick-release, no-tools platens there is nothing that will
PAGE 6 . 23

stand in your way of getting back into production. The point is not to delay the start of the set-up mode. Long Run Lengths As the run length increases, set-up time becomes less and less critical and cycle rate more and more critical. The tables below begin at 300 dozen (3600 pieces) and show the impact of both facets of the press run.
Breakeven Point Monthly Overhead Hours Per Month Set Up Time (min.) Min. Run Length Cycle Rate (dz./hr.) Prct. Annual Plant Capacity

Chapter 6
$0.48 $0.44 $0.44 $0.42 $0.40 $0.38 $0.37 $36,400 173 90 75 60 45 30 15 7.5 3600 60 75%

Figure 6.25 This table lists long run costs as affected by set-up time. You can see the cost drops slowly as the set-up time is reduced. For example if your set-up time is 45 minutes and drops to fifteen minutes, the break even only drops from $0.42 to $0.38 each. An increase in cycle rate (below) as opposed to a reduction in setup time is one way to improve your ability to bid on the short runs. Figure 6.26 At a 3600 piece run length and a sixty second cycle rate, setup has very little impact on the break even point for our scenario. You will find that the same conditions respond rapidly to a change in cycle rate. (Refer to page ___ for the list of variables, which apply to this profile).

Variable Set Up Time To Achieve Break Even

$0.80 $0.70 $0.60 $0.50 $0.40 $0.30 90 75 60 45 30 15 7.5

Break Even

Set Up / Changeover In Minutes

Breakeven Point Monthly Overhead Hours Per Month Set Up Time (min.) Min. Run Length Cycle Rate (dz./hr.) Prct. Annual Plant Capacity
PAGE 6 . 24

$0.79 $36,400 173 45 3600 30 75%

$0.61 $0.50 $0.42 $0.37 $0.33 $0.30

40

50

60

70

80

90

Costing
Variable Cycle Rate To Achieve Break Even
$0.80 $0.70 $0.60 $0.50 $0.40 $0.30 30 40 50 60 70

Figure 6.27 The table, on the bottom of the previous page, lists the long run costs as affected by press cycle rate. The cost drops dramatically and the break even is fixed at a lower rate due to the length of the press run at 3600 pieces. For example if your cycle rate is 50 dozen per hour and you improve to 60 dozen per hour the savings goes from $0.50 to $0.42 a savings of 16 percent. On a long run a sixteen percent saving is appreciable. An increase in cycle rate, not a reduction in setup time, is the best way to cut costs on the long press runs. Figure 6.28 This chart takes a relatively long run of 3600 pieces and fixes setup at 45 minutes and then compares an increase in cycle rate to the break even point. At 30 dozen you need $0.80 to break even but move up to 50 dozen per hour and $0.50 will be the point right before profit. Refer to page 6.18 for the list of variables, which apply to this profile.
80 90

Break Even

Cycle Rate In Dozen Per Hour

Breakeven Point Monthly Overhead Hours Per Month Set Up Time (min.) Min. Run Length Cycle Rate (dz./hr) Percent Plant Cap. $0.79 $36,400 173 90 4656 60 75%

75 3880

60 3104

45 2328

30 1552

15 776

7.5 388

6.29 This table lists the minimum run length as affected by set-up time. The break even point is frozen at $0.79 per print. You can see the minimum run length drops dramatically as the set-up time is reduced. For example if your set-up time is 45 minutes and drops to fifteen minutes, the minimum run length plummets from 2328 to 776 pieces. This is a 67% reduction in the minimum run length. Reduction in setup time in addition to faster cycle rates is one way to improve your ability to print long runs at a fixed break even.

Variable Set Up Time To Achieve Minimum Run Length Min. Run Length
5,000 4,000 3,000 2,000 1,000 0 90 75 60 45 30 15 7.5

Figure Figure 6.30 This chart illustrates a fixed break even point of $0.79 and a fixed cycle rate of sixty dozen per hour. In this scenario the setup and changeover time has an overwhelming impact on the minimum run length to break even. Refer to page 6.18 for the list of variables, which apply to this profile).

Set Up / Changeover In Minutes

PAGE 6 . 25

Training Press Loaders

Chapter 6

There is a level of press operator that can be very beneficial in your shopthe high-speed loader. This person can be trained on an M&R press in hours and load at fifty to seventy dozen per hour. They will not be the top troubleshooter, nor will they be the best at setup but they will be able to load a press at top speeds. There are a number of advantages; first it is a very trainable position. Second it can give your top performers a break. Third it is an excellent step toward cross training. Here is a map for how to optimize training. First familiarize the novice with the controls, including emergency stop and the most frequently used features during press operation. Have the person who is your top loader do the training and stay with the novice while he or she is learning to load. If possible move a head out so that you will have two load stations and put new and old operators at each position. (Consult M&R service before you attempt to do this for the first time.) Now the novice has a safety, it is the veteran. If there is a problem, little can go wrong.
Breakeven Point Monthly Overhead Hours Per Month Set Up Time (min.) Min. Run Length Cycle Rate (dz./hr.) Prct. Plant Capacity $0.79 $36,400 173 45 2962 30 75%

1023 40

652 50

525 60

461 70

422 80

396 90

Figure 6.31 This table lists the minimum run length as affected by the press cycle rate. The break even point is frozen at $0.79 per print. You can see the minimum run length steadily falls as the cycle rate increases. For example if your cycle rate is fifty dozen per hour and you improve to 60 dozen per hour, the minimum run length drops from 652 pieces to 525 pieces. Reduction in setup time, and an increase in cycle rate is the best way to reduce the long run minimums with a fixed break even.

Variable Cycle Rate To Achieve Minimum Run Length Min. Run Length
5000 4000 3000 2000 1000 0 30 40 50 60 70 80 90

Figure 6.32 This graph illustrates the impact of cycle rate on the minimum run length with a fixed break even point of $0.79 and a fixed setup changeover time of forty-five minutes. The results are only appreciable at the slowest ends of cycling. After fifty dozen the change in cycle rate makes a negligible change in minimum run length.

Cycle Rate In Dozen Per Hour

PAGE 6 . 26

Be sure that your shirt detector is functioning as the nonhuman part of the safety net. Begin loading at thirty dozen per hour. Gradually take it to forty then fifty then sixty and at seventy dozen per hour you have hit a plateau. Turn the press back down to forty dozen and have your top loader stand back and just watch. Within hours most trainees can load at speeds up to seventy dozen per hour. It gives your top staff a break and you an increase in productivity as well as capacity.

Costing
Running The Press Faster
Run your presses faster by following these steps:. 1. Calibrate press and flashes. 2. Use thin, flat large open mesh. 3. Thoroughly dry and expose screens. 4. Find low tack shear thinning ink with minimal plasticizer. 5. Run sharpened blades at top speeds monitor slowest head. 6. Spray minimum tack sprayed at central area only. 7. Insure adequate line-air pressure. 8. Minimize stroke length. 9. Optimize flow controls on lift cylinders. 10. Use Ends Caps on flash jobs and long runs. How To Instructions

Resource Allocation And Dependencies

There are dependencies in this and all other manufacturing operations. It means that there must be a specific sequence and if the process is taken out of sequence, the results will appear to be random and the process will be said to have too many variables. If you address subsequent variables before you have a solid foundation, your results will be futile, they will not last. For example if you set a tension level first in the chain of events, you are able to print but all other elements must be skewed to fit the tension level. If you pick and ink before you have standardized your operation, you may never know if the ink or something else causes trouble. Most practitioners know what to do but the secret to success is to do it in the correct order. We have listed a logical and simple sequence to be followed and a description of these rudimentary steps is given in the side bars on the following two pages.

PAGE 6 . 27

Pr oduction S t eps
1. Calibrate the press. a. Parallelism. b. Clearance. c. Tolerances. 2. Gauge image tolerance. a. Press accuracy b. Press repeatability. 3. Establish off-contact distance. a. Maximumreproportioning. b. Minimumimage stretch. c. Optimumuniform ink transfer. 4. Select screen mesh. a. Registration b. Ink transfer. c. Aesthetics. 5. Support off-contact distance with screen tension. a. Balanced elongation. b. Square opening. c. Below elastic limit. 6. Select stencil. a. Durability. b. Transparency. c. Dry time. 7. Process the stencil. a. Resolution. b. Edge acuity. c. Ink transfer. 8. Process films. a. Transmission contrast. b. Resolution. c. Dimensional stability. 9. Select test squeegee blade. a. Standard angle and pressure. b. Length, width, height. c. Edge to suit mesh. 10. Set squeegee blade. a. Minimum deflection. b. Total ink transfer. c. Zero image stretch. PAGE 6 . 28

Details Of Dependencies

Chapter 6
1. Calibrate the press. a. Parallelism. b. Clearance. c. Tolerances.

Comprehensive explanations of virtually all of these stages and steps are included in this manual. We encourage you not only to review its contents but be sure that all involved parties in your organization do the same.

The planes of the carriage travel, the screen mesh and the platens must be parallel. Otherwise it will be impossible to produce a predictable, consistent print. A detailed step-by-step procedure is listed in chapter six. Clearance must be proper between the screen and the screen holders and they must be plumb for proper off-contact settings. The tolerances of the Gauntlet and Challenger presses will allow you to print butt to butt register or 150 line halftones at top speeds. 2. Gauge image tolerance. a. Press accuracy. b. Press repeatability. The press and printing variability must be within the dimensional tolerances of the image. Image tolerance can be identified with a loupe, mathematically or by gauging the art in the computer before it is output. Chapter one reviews the tolerance of the image, screen and tensioning. The Gauntlet and Challenger presses lock into preset cam followers at three points on the carousel, insuring exceptional registration. The drive and shock assemblies are designed to allow you to smoothly register for years to come. None of the balance of the process can compensate for an erratic press but if yours is M&R there is no need to worry. 3. Establish off-contact distance. a. Maximumreproportioning. b. Minimumimage stretch. c. Mandatoryuniform ink transfer. Once the press is set and the tolerances determined you would

set the off-contact distance. As detailed in chapter six, the proper off-contact distance creates uniform ink transfer, and insures the dimensional accuracy of the image. This distance must be the first setting on the press. The constraints to offcontact distance are an upper limit where the printed image is larger than the original. The lower limit is where the image is stretched in the stroke direction. And it is mandatory that the off contact is sufficient to insure uniform ink transfer, tension alone cannot usually accomplish this. 4. Select screen mesh. a. Registration b. Ink transfer. c. Aesthetics. The screen mesh (discussed in chapter two) has a fundamental responsibility for image registration but tighter is no insurance. The shift on press and many imaging problems are due to the S-S balance of the fabric, in its virgin state and on press. In all cases you will want to select plain-woven low elongation fabric. Screen mesh is the primary determinant of ink transfer and its geometry should be thin and open. Aesthetically you need a level of opacity or transparency, a degree of smoothness and a specific volume of ink. The mesh sets the stage for all of these facets. Note that the mesh is not selected for a presumed tendency to insure image resolution. 5. Support off-contact distance with screen tension. a. Balanced elongation and square opening. b. Sufficient to encourage ink transfer. c. Below elastic limit. Screen tension is required to permit the off-contact distance set above (Refer to chapter one for details). The S-S balance of the fabric will permit stable tension and a square opening if your methods include tension by percentage of elongation. The tension must be at a lower limit to encourage ink transfer; it cannot create a uniform transfer in most cases. It has an upper limit of an elastic limit that should be respected.

Costing

Pr oduction S t eps
11. Maximize press speed. a. Minimum dwell. b. Fast blade speed. c. Minimum stroke length. 12. Calibrate flash. a. Accommodate press speed. b. Minimum temperature. c. Minimum distance. 13. Optimize dryer. a. Adequate for press output b. Below remelt temperature. c. Energy efficiency. 14. Select ink by properties. a. Optical. b. Rheological. c. Thermal. d. Physical. 15. Request a CofA. a. Identify status quo. b. Communicate to ink maker. c. Anticipate improvement. 16. Temporarily adjust to accept ink deficiencies. a. #10 (pre-production steps). #1 (production steps) #2 production steps). #3 (production steps). 17. Provide proper labor. a. Quantity. b. Skill sets. c. Orchestration. 18. Assess costs and selling price. a. Conversion costs. b. Raw material costs. c. Fixed costs. 19. Reevaluate ink when ready. a. Temporarily adapt. b. Repeat process.

PAGE 6 . 29

Chapter 6
How To Instructions

Staffing The Press

The best way to staff a press for production efficiency follows:

6. Select stencil. a. Durability. b. Transparency. c. Dry time.

The properties of the stencil that is best for your operation 1. One person at load position. should include durability for 2. One person at unload position. your press, flash units, and ink chemistry. It should be 3. Rotate loader and unloader every 20 minutes. transparent to assist in registration or adjustments on 4. One person to caddy (see page 6.8). press. These two directly 5. Rotate caddy to load/unload positions influence the press operation. every four hours. Finally it should dry quickly 6. One person at dryer. since as much as 70 percent of the stencil processing time 7. Rotate dry person to load/unload position at end of shift. is drying. Note that resolution is not included as a variable here. As chapter two will detail, the demands of most prints are met and exceeded by the resolving power of most coatings; it is the processing that ruins the results. 7. Process the stencil. a. Resolution and edge acuity. b. Durability. c. Ink transfer. Your tools, coating methods, level of dryness, exposure and washout will all impact the resolution and edge acuity of the image (Refer to page ___ for details). All of these also affect the durability of the stencil and this directly causes or prevents interruptive downtime. The stencil should be seen as a metering device to establish the width and height of the image but to establish its thickness as well. 8. Process films. a. Transmission contrast. b. Resolution. c. Dimensional stability. There is a measurable density of films from 3.0 to 5.0 to block out the actinic
PAGE 6 . 30

portion of the exposure light. Lower density and sufficient light may pass and prevent development of the coating. Further the clear part of the films should be reasonably clear and allow sufficient light to pass unobstructed. The positives must have adequate resolution and dimensional stability. 9. Select test squeegee blade. a. Standard angle and pressure. b. Length, width, height. c. Edge to suit mesh. The parameters of the blade are covered in precise detail in chapter six. You should establish a squeegee angle and pressure as standard and select a length, width and height to support your frame, tension and off contact. The edge of the blade should be dressed with a radius to fit the mesh. This technique increases shear rate on the ink while it reduces the risk of pressure on the platen see chapter three. 10. Set squeegee blade. a. Minimum deflection. b. Uniform and total ink transfer. c. Zero image stretch. Once you have chosen the blade to fit your parameters, you will be tasked to set it properly. Refer to Chapter Six (Press Cal) for details. There should be no primary deflection and as little as possible secondary deflection. The blade should provide uniform pressure across the screen mesh at all points and should totally transfer the ink without hang-up or screen lag. There should be zero stretch of the mesh in the stroke direction. 11. Maximize press speed. a. Minimum dwell. b. Fast blade speed. c. Minimum stroke length. It is obvious that your goal should be to run as fast as possible and now is the time. The constraint should be your operators until either they are trained or you invest in a Passport system from M&R to automate unloading. Run sufficient air to the

Costing

Image Tolerance
The tolerance of the image is the range acceptable size of the original and repeated image. Accuracy is always an issue but is the only issue for the output films. If they align at the point of exposure they are satisfactory. Do not assume that just because they were computer output, they are accurate. Things like roll ends shrinkage and improper sizing can cost you a fortune if it gets to press. If the job is process color, the registration can be calculated from the dimensions of the primary rosette. The screen (Refer to Chapter Two) is often a cause of misalignment on press. The construction and finishing of the fabric are crucial to press register. Once you get the fabric we suggest that higher is not necessarily better but proper tension, to support the off-contact distance is paramount. The frames should be flat or even if you get the job in register, it is likely to go out very quickly. Squeegee settings have a serious impact on the register and are covered in near completed detail in chapter four. Just as press calibration is a key factor for successful close tolerance printing. The garment and some more than others are prone to shrinkage. If so, the distortion will be against the courses or left to right on a standard jersey knit tee shirt. If it is a Gauntlet or Challenger press, the registration of the press is most often the least of your worries.

PAGE 6 . 31

press, set a minimum dwell time with a fast blade speed and a minimum stroke length. (See Chapter Four on Press Cal) 12. Calibrate flash. a. Accommodate press speed. b. Minimum temperature. c. Minimum distance.

Chapter 6

After the press is calibrated and set to run fast you can calibrate the flash units. Their first responsibility is to accommodate press productivity and with the right ink (later) and preceding conditions, this is possible. You will want a minimum temperature and a panel distance as close as possible and a tube distance at 2.25-inches. Chapter Five explains the flash opportunities available from M&R. 13. Optimize dryer. a. Adequate for press output. b. Below ink remelt temperature. c. Energy efficiency.

Figure 7.33 Part of maximizing your press speed is to allow the operator the safety net of the Shirt Detector. Even a seasoned operator will miss a platen once in a while and it causes an interruption of their cadence. With most operators their timing is impaired and they won't run as fast out of fear of doing it again. With the shirt detector everyone can cycle at top speeds and allow the sensor to automatically not print any platen that gets missed.

A review of Chapter Three on inks will offer additional insight to dryer settings and constraints. The dryer should be set to accommodate press output, below ink remelt temperature of the plastisol and to run energy efficiently. Do not confuse a test for dryer parameters and curing parameters. The dryer is one critical aspect to high speed, consistent and complete curing but it is a singular element. Testing for your dryer, dye sublimation and migration, and degrees of cure are covered in Chapter Three.
Figure 6.34 This shows the in-feed of a Sprint Dryer. The retention time and temperature should be calibrated for your printing conditions (refer to Chapter). It is particularly important when the garments have been flashed, that you include this preheat in your calibration. The Sprint will allow you to run virtually any combinations of light and dark garments but it should first be calibrated. HiRes AccuColor garments compliments of Target Graphics. PAGE 6 . 32

14. Select ink by properties. a. Optical. b. Rheological. c. Thermal. d. Physical. Chapter Three lists the four properties and details on each. Certain of these traits may be

deemed mutually exclusive, that to get more of one property requires that you get less of another. To negotiate in good faith means that if there is real world value that you are willing to pay for it. Most of your complaints about ink (and many other elements of the process) can be dealt with by premium quality materials and processing. One of the ink manufacturers goals is to keep the price down; perhaps they have gone too far? 15. Request a CofA. a. Identify status quo. b. Communicate to ink maker. c. Anticipate improvement. A Certificate of Analysis is similar to an internal QC (quality control) sheet and is offered to large volume users of plastisols worldwide. It identifies the properties of the ink specific to that batch so the informed user can adjust or adapt to the variance in the product. No one makes perfectly consistent product, there are normal and special variances. Normal variances do not appear consequential to the ink maker but may have an impact on the press. Special variances indicate anomalies or extreme inconsistencies in the batch and may be good or bad on press, but most assuredly they will be noticed. A CofA is a warning of variance or confirmation that whatever variance should not be noticed. This insurance policy will allow you to communicate effectively with your ink provider in terms that both of you can understand. From this communication, you may anticipate improvement in the product. 16. Temporarily adjust to accept ink deficiencies, and repeat the folowing steps: a. #10 b. #11 c. #12 d. #13. If the ink does not suit your conditions (and a general purpose ink will rarely do so) you will have to make adjustments. We encourage you to look at these as temporary adjustments. It may not be wise to compromise your press and prepress con-

Costing

You Cant Ge t There Fr om Here

Suppose you are trying to compete with the printer in town who has an automatic and you have only a manual press. If you have tried to outbid them, you have either lost the bid or probably lost your profit. The logic is simple; the key is your opponents ability to distribute fixed costs, some refer to this as economies of scale. For example you have fixed costs or general and administrative, rent, phones, utilities and so on for a monthly overhead total of $24,275. The competition also has fixed costs at an arbitrary fifty percent higher than yours or $36,400 per month. Four persons in his plant can produce a nominal 400 pieces an hour of fourcolor work or 3200 pieces per shift. His cost is $36,400 divided by his straight time of 173 hours per month or 52 per print. You run the same job with your lower overhead and straight time but your manual produces seven dozen per hour or 84 pieces. Your lower overhead still has the cost of each shirt at $1.67 each. It is impossible for you to compete. For those of you with both a manual and an automatic on the shop floor bear this in mind. You should parallel the images from your automatic press on the manual. Keep it for samples and strike offs and do not prevent your automatic from printing approved, bill-paying work.

PAGE 6 . 33

Wh y The Ink Mak er?

It may appear to you that we were asking more of the ink manufacturer than of the other players. That is not the case, it is simply a matter of saying The last one to leave, turn out the lights. In the sequence of the operation prepress has the correct name it comes before the production. At this time we make decisions on the nature of the detail and aesthetics of the image. These include film generation, screen mesh selection and processing, stencil properties and processing. The calibration of the press has to be at a specification that will hold tolerances demanded by the art. It has to meet or exceed specifications set by our banker and creditorsspeed and reduction of downtime. Once we have met these criteria and are ready to go into production, just imagine if we put the ink in and it looked the way we want it to. One reason that this doesnt happen enough is that the ink maker is trying to hit a moving target; most of their customers are not in calibration and do not set up or manufacture to a specification. The ink maker is in the dark. Once our customers have a repeatable specification, the ink manufacturers will be able to provide a product that pumps through the mesh properly, flashes dry and fast and that does not age up or get too thin on press. It is real world but only once we get in spec and ask the ink providers to comply.

ditions for inequities in the ink. Adapt by adjusting the blade as described in Chapter Four. The ink may cause you to restrain your Gauntlet or Challenger and full details are covered in Chapter Three on inks and Chapter Four on press calibration. Flash details are covered in Chapter Five and will help you deal with troublesome inks. Finally, you will need to adjust your dryer, look to Chapter Three on inks for details on dryer settings. 17. Provide proper labor. a. Quantity. b. Skill sets. c. Orchestration.

Chapter 6

The race is profitability and your M&R press is the racecar, dont skimp on the labor to save money, it doesnt work that way. Sufficient labor with the skill sets needed is the best approach. You may want to join us in Chicago for our ongoing training sessions. All attendees receive certification of curse completion. The course helps the novice become familiar with the press operation and printing fundamentals. Even the seasoned veteran will gain insight into this ever-changing industry. Finally the labor must be orchestrated to focus on the goals or production. 18. Assess costs, price accordingly. a. Conversion costs. b. Raw material costs. c. Fixed costs. It appears one individual made a price sheet and then everyone copied it. Considering the diversity and individuality of each shop, it is unlikely that any two-price sheets would be similar, yet so many of them are identicalgo figure. Your conversion costs have the greatest impact on your bottom line. Raw material costs are easier to watch, but are not as significant. Keep your fixed costs under control and you will be better prepared to sustain profitability in the slow months. Once costs are in check, set a price based on profit or revenues, not volume, and you will be pleasantly surprised at year-end.

PAGE 6 . 34

Costing
19. Reevaluate ink when ready. a. Temporarily adapt. b. Repeat process.

Orchestrating Production
Use the following steps to orchestrate production: 1. Calibrate the press. 2. Gauge image tolerance. 3. Establish off-contact distance. 4. Select screen mesh. 5. Support off contact with screen tension. 6. Select stencil. 7. Process the stencil. 8. Process films. 9. Select test squeegee blade. 10. Set squeegee blade. 11. Maximize press speed. 12. Calibrate flash. 13. Optimize dryer. 14. Select ink by properties. 15. Request a CofA on your inks. 16. Temporarily adjust for ink deficiencies. 17. Provide proper labor. 18. Assess costs, price accordingly. 19. Reevaluate ink when ready.

How To Instructions

Any changes that needed to be made in the ink should be welcomed because your supplier has shown a willingness to fit his product to your process. Or you may be evaluating a product from a different source, either way, prior to testing return your settings to home position. Test the product and make adaptations of numbers 10, 11, 12 and 13 to accommodate the ink. Interpret the results to see if these accommodations are preferable to the former inks. The above nineteen points are a map to successful production management. They are not the only path and may need to be altered to fit your particular needs. It is most important that you have a formal goal and a plan to promote that goal; we hope that this map can help you to develop your plan.

Percentage Downtime vs. Runtime

There are three facets to downtime: set-up, interruptive and changeover. Set-up begins as soon as the operators begin to prepare the press for the next job. Interruptive is the delays caused by the need to stop the press mid run.
PAGE 6 . 35

Changeover is the retooling work at the end of one job so that set-up can begin on the next.

Chapter 6

Obviously in this case, less is better, less downtime means more profit. So you will want to know just how much of the day or press run that you are operational and how much of it you are down. An easy way to gauge this fact is to calculate a percentage of running time or percentage of downtime As indicated in the table below, if you were to have one hour of downtime, setup, interruptive and changeover all totaled, and you printed a 30 dozen order at a cycle rate of 30 dozen per hour, your run time as a percentage would be 50%. Here is the trap if you speed up and run at not 30 dozen per hour but at 60 dozen per hour, twice as fast, your percentage of running time would drop from 50% to 33%. The con to having a high percentage of run time (or a low percentage of downtime) is to cycle slowly.
Press Runtime As A Percentage D.T. min. 30 40 50 60 70 80 90 100 110 dz/hr dz/hr dz/hr dz/hr dz/hr dz/hr dz/hr dz/hr dz/hr D.T. hrs.

15 30 45 60 75 90 105 120 135 150 165 180

80% 66% 57% 50% 44% 40% 36% 33% 30% 28% 26% 25%

75% 60% 50% 42% 37% 33% 30% 27% 25% 23% 21% 20%

70% 54% 44% 37% 32% 28% 25% 23% 21% 19% 17% 16%

66% 50% 40% 33% 28% 25% 22% 20% 18% 16% 15% 14%

63% 46% 36% 30% 25% 22% 19% 17% 16% 14% 13% 12%

60% 42% 33% 27% 23% 20% 17% 15% 14% 13% 12% 11%

57% 40% 30% 25% 21% 18% 16% 14% 12% 11% 10% 10%

54% 37% 28% 23% 19% 16% 14% 13% 11% 10% 9% 9%

52% 35% 26% 21% 17% 15% 13% 12% 10% 9% 9% 8%

.25 .5 .75 1.0 1.2 1.5 1.7 2.0 2.2 2.5 2.7 3.0

Figure 6.35 The table above lists downtime in minutes in the far left column and hours in the far right column. Across the top row is the cycle rate in dozen per hour. Below the cycle rate is the percentage of run time for a run length of 360 pieces or 30 dozen. The oddity is that the faster you go, the lower the percentage of run time at a fixed downtime. For example at 50 dozen per hour and 30 total minutes of downtime, you are running 54 percent of the time. If you were to run faster at 60 dozen per hour and have the same amount of downtime your run time would now be 50%. Dont worry; the customer doesnt pay for percentages, run them as fast as you can.

Run time, as a percentage is only relevant if it is attached to the cycle rate and run length. To say that you have a really high percentage of run time could mean you have long runs and you run very slowly. Is this something to boast about?
PAGE 6 . 36

Never use the percentage of downtime or running time as a singular data point, it is completely irrelevant. You must know what the cycle speed was and the total run length along with the percentage of operational time.

Costing

Time Is Mone y!
If your total overhead is $36,400 per month and you work five days a week, eight hours per day (173 hours per month), your cost per hour of operation is $200.00. Lets say that a job takes you fifteen minutes to setup and forty-five minutes to run on your only press, for a total of one hour. The job is 475 pieces. Your cost per print is 42 per print. In other words, you have a fiscal responsibility to generate $200.00 and with only one press as your source of revenue, the $200.00 per hour must come from that press. So if you take an hour to do anything it has a liability of $200.00. Divide the $200.00 by the run length in pieces and you have the per piece cost. Your accountant may be shaking his head but this take off of activity based cost accounting can allow you to comfortably move through the sea of negotiation without any casualties or fatalities. It is better too have a less precise estimate of your costs than no estimate at all. This shorthand to cost estimating will also allow you to compare one job to the next as their value is based on the time that they take to get through the plant.

Measuring Performance
A successful cycle rate must consider the PFDs (personnel fatigue and delays); that is how do we keep the press running at optimal rates for the long haul? Following is a list of steps that you can take to maximize your cycle rate day-in and dayout. 1. Always have a back up set of screens readied and out at the press. It will cost no more to make the screens twenty-four hours ahead of time. Your press should never have to wait for a screen. 2. This is not the time to maintain the press (refer to the M&R Operators Manual for details). Use our maintenance schedule and do not maintain or clean during regular production hours. 3. Have a spare set of squeegee and floodbar blades as a back up clean and ready. The cost is truly insignificant and can easily be paid for from the profit that this step will generate. 4. Rotate loader and unloader every 20 minutes. Loading is physical and unloading requires focus, it is the first point of quality control during production. Most shops that try this experience a 10 percent to a 30 percent 5. Put a third person caddy on the press (refer to page 6.8) This is the temporary assistant to the press team. The caddy gets tape, Pellon, moves flashes, adds ink to the screens and most important speeds up each head as needed. 6. Rotate the third person caddy every four hours (refer to page 6.8). Every four hours the caddy steps into the load / unload loop. This system deals with personnel fatigue and delays better than any we have seen. Plus the crew becomes cross-trained painlessly.

PAGE 6 . 37

Dw ell Time Is No t Enough

The dwell setting is a delay timer that begins to count down as soon as the print cycle is completed it is not equal to the cycle rate of the press. As soon as the print is made and the platens drop until the timer lapses the pre set time, nothing will happen. However the real time is affected by the dwell setting as well as the speed of the squeegee, indexer drop rate and the scfm to the press. The press will never move until the slowest blade completes its stroke. So the dwell timer wont start its countdown until the blades are done moving and this affects your cycle rate. To impress the boss, I will set the dwell timer at an impressive zero. But to not over tax myself, I simply set the blades at a slow speed. Now I have the dwell time as well as the delay of the slowest squeegee and I have the document of speed but such is not the case, it is not the reality. Dwell settings, the slowest squeegee speed, total colors of the press, number of colors in use at any one time, the timing of the lift cylinders, the air supply and the stroke length all affect the production rate. Further as you will find in this chapter, cycle speed is relatively incidental on short runs.

7. Use the Shirt Detector at all times. This sensor allows even a novice to run at top speeds without fear of that dreaded sound of screen gluing itself to platen adhesive (refer to page 6.38).

Chapter 6

8. Optimize blade speed. When properly engineered most work can run at near the top speeds of a Gauntlet and Challenger. This manual will help with the print engineering and refer to page 4.46 for details on blade speed. 9. Use Ink Traps (see page 3.17). Whether your run is long or if you are flashing, End Caps hold the ink in place and reduce the adverse affect of shear and heat from the flash. 10. Maintain proper air pressure and scfm at all times (as recommended in the M&R Operators Manual). To run properly, in time and at top speeds, you must provide chilled air at the proper pressure and volume. 11. Have spare garments at press side prior to run. For some reason this never seems to be an available supply of garments that can be used for scrap. Keep it in mind that the shirt costs about $3.00. Our test site has one press for one standard shift and $34,600 per month total overhead. His applied cost is $3.33 per minute. 12. Set flash units as prescribed (refer to page 5.10). One chapter is dedicated to this necessary evil. If your press is calibrated and your flashes are then calibrated to it, flashed production can nearly match non-flash rates. 13. Run high blade speed. The blade going just a little slower can deteriorate your productivity (refer to figure 7.5). 14. Single stroke all colors. Double stroke is the assist to improper print engineering but the enemy of productivity (refer to page 6.5).

PAGE 6 . 38

Costing
Dwell Slow Medium

Effect of Dwell and Squeegee Speed On Flash Fast

1 3 5 7 9

56.7 49.3 41.9 34.4 27.0

65.5 53.8 42.1 34.6 27.1

65.9 54.1 42.4 34.8 27.2

Figure 7.36 this table shows the range of dwell time settings based on a variance in the squeegee speed. The table is in seconds of dwell time per squeegee setting. As you can see, using dwell as a predictor of dozens is futile.

15. Do not be fooled by dwell time(see sidebar oposite page). Dwell time can be very misleading and if you are referring to the setting on your press, it has no bearing to real time. If you want to know how fast you are really running you will need to time at least one cycle. A cycle is the elapsed time (gauged by the second hand on your watch) from an event until that event occurs again.
Relationship Between Cycle Rate and Dozens Per Hour Seconds 2.0 2.2 2.4 2.6 2.8 3.0 3.2 3.4 3.6 3.8 4.0 4.2 4.4 4.6 4.8 5.0 5.2 5.4 5.6 5.8 Dz. / Hr. 150.0 136.0 125.0 115.0 107.0 100.0 93.7 88.2 83.3 78.9 75.0 71.4 68.1 65.2 62.5 60.0 57.6 55.5 53.5 51.7 Seconds 6.0 6.2 6.4 6.6 6.8 7.0 7.2 7.4 7.6 7.8 8.0 8.2 8.4 8.6 8.8 9.0 9.2 9.4 9.6 9.8 Dz. / Hr. 50.0 48.3 46.8 45.4 44.1 42.8 41.6 40.5 39.4 38.4 37.5 36.5 35.7 34.8 34.0 33.3 32.6 31.9 31.2 30.6 Seconds 10.0 10.2 10.4 10.6 10.8 11.0 11.2 11.4 11.6 11.8 12.0 12.2 12.4 12.6 12.8 13.0 13.2 13.4 13.6 13.8 Dz. / Hr. 30.0 29.4 28.8 28.3 27.7 27.2 26.7 26.3 25.8 25.4 25.0 24.5 24.1 23.8 23.4 23.0 22.7 22.3 22.0 21.7

Figure 7.37 This table shows the relationship between cycle rate in seconds and dozens per hour. After you time one cycle in seconds as detailed in the paragraphs above, find the closest time (rounded to one even decimal place) on the table above. Immediately to the right is the dozens per hour that you are running at that cycle rate. Refer to the sidebar on page 6.38 for details on why not to use the setting on the dwell timer as the cycle rate in seconds.

PAGE 6 . 39

An easy way to time the cycle of a Gauntlet or Challenger is to start a stopwatch as soon as the indexer begins to drop. Allow the watch to run during the print stroke and stop the watch as soon as the indexer begins to drop again. This is the time of one complete cycle. The constant 300 allows you to convert seconds of cycle to dozens per hour, as there are 12 of each in a dozen and 3600 seconds in an hour. 3600 divided by 12 equals 300. So divide 300 by the cycle time in seconds to determine the production in dozens per hour or use the table below.
Seconds Cycle Time And Productivity 110 90 70 50 30
3 4 5 6 7 8 9 10

Chapter 6
Figure 6.38 Once you time one complete print cycle, you can divide the constant 300 by those seconds and arrive at productivity in dozens per hour.

Dozens Per Hour

Seconds Cycle Time

If you want higher precision in your dozen per hour rate, time ten cycles in seconds and use the constant 3000. Divide 3000 by your seconds to complete ten shirts and you will have dozens per hour.

Manual vs Automatic
This question is one of the reasons that we developed this resource manual. There are very few cases that a manual press is a preferred choice over a Gauntlet or Challenger press. There are typical exceptions of short run nylon jacket, baseball caps and such but for tee shirts and fleece automatic is the answer. Your Gauntlet or Challenger press can be set up far faster but a good guideline in the real world is five minutes per color. This is not register only (which takes seconds with a Tri-Loc) but the total process. The guidelines for reaching and exceeding this goal are published in this manual.

PAGE 6 . 40

Costing
Number of Colors Manual Setup Mins. Manual Cycle Rate Auto Setup Mins. Auto Cycle Rate Breakeven Dozen Breakeven Pieces Elapsed Time

1 2 3 4 5

2 4 6 8 10

45 25 13 7 4

5 10 15 20 25

50 50 50 50 50

22.5 5.0 2.6 1.6 1.0

270 60 32 19 13

32 16 18 21 26

Figure 6.39 This table illustrates the point of the manual and automatic. Begin at the left, on a three-color job on the manual sets up in six minutes and cycles at 13 dozen per hour (were being generous). The automatic sets up in fifteen minutes and coasts at fifty dozen per hour. At 2.6-dozen or 32 pieces the elapsed time is 18 minutes and the two presses are even. So if your times are similar to these and you get a three-dozen order, you want to run it on the automatic.

Figure 6.40 Shows the Chameleon manual press. It is the perfect companion piece to your automatic. As you will learn in the text there is no way a manual can generate profits against an automatic but the Chameleon can be the back up for both Challenger and Gauntlet presses. It keeps floor space down to a minimum with its two-tiered construction. It holds the exact same screens as the automatic. Once you print your sales samples or strike off on the Chameleon, you can use the same screens for full production. You never have to tie up your automatic and run short of capacity with a Chameleon.

The table below profiles some typical work at arguable production rates. The profile is very generous to the performance of the manual because they just cant keep up with an automatic. For those of you who have been relying on your manual for short runs, think again.
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Chapter 6
PRICE MODELING Date: 6/00 Unit Cost Run Length Pcs. Units / Yr. 936,000 Time to Print (hours) $0.96 3600 8 Profit $ / Yr. $224,640 $128,366 $112,320 $552,240 $458,640 -$118,560 $301,440 $401,000 Break Total Total Percent Percent Absolute Selling Even Invoice Revenues Cost Markup G.M. G.M Price Pieces Amount $ / Yr. 1 2 3 4 5 6 7 8 $0.96 $0.96 $0.96 $0.96 $0.75 $0.96 $0.96 $0.96 25% 14% 13% 61% 65% -13% 34% 45% 20% 13% 11% 38% 40% -15% 25% 31% $0.24 $0.14 $0.12 $0.59 $0.49 -$0.13 $0.32 $0.43 $1.20 $1.10 $1.08 $1.55 $1.24 $0.83 $1.28 $1.39 2,880 3,150 3,200 2,230 2,177 4,147 2,696 2,489 $4,320 $3,950 $3,888 $5,580 $4,464 $3,000 $4,615 $4,998 $1,123,200 $1,026,926 $1,010,880 $1,450,800 $1,160,640 $780,000 $1,200,000 $1,299,560

1998 First Aid Ltd.

Figure 6.41 This pricing model, courtesy of First Aid Ltd., illustrates a hypothetical company with a per print cost of 96 cents, a 3600 piece run length and eight hours to print that job. Their average pieces per hour would be 450 pieces on their automatic press. If they ran this job over and over again, straight time, they could print 936000 pieces in one year.

Since an automatic can always outrun a manual press, if it can be setup in the same time, there would never be a reason to use the manual. But there are a couple of exceptions; you want to utilize your manual to complement and supplement your automatic press. If you need sales samples, strike offs that have to wait for an approval or to test-print a color match, use your manual press. For all real press runs, your manual is too slow, it runs you out of time and labor capacity and it wont let you compete with the automatic world

Pricing
We will deal with pricing on two levels, first the nature of price setting for contract work and second the viability of pricing that includes a garment. In any and all cases, your price should be above your specific costs and below what the buyer will tolerate. We are in a mature industry and the buyers have been well educated. They shop comparatively for apples to apples buying. This means that they can get a feel for the market value of your product by shopping it with many competitors. But do not fall to the ruse, you may be very tempted to cut price because your competitor can reportedly do it for less. If you go prepared with cost and potential profit information in hand and then choose to meet or beat a competitive price it is your call. But we caution you that if you do it indiscriminately you can get into serious trouble.
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The table on the previous page is a matrix of costs, prices and profits. It allows you to get a quick review of some of the dangerous grounds in the price game. If you choose a wrong perspective on which you base your price, it may be extreme, either windfall cash or serious losses. Anyone who understands these basic relationships can negotiate far better. The price model on the preceding page takes one hypothetical order and in each row uses a different method of arriving at a price. Some of these approaches are sound and reliable, some are very risky and a few of them make no business sense. Each row in the table is numbered below and the details follow. 1. Markup is something that you do to a cost in order to get a price. Reading row one from left to right, the cost is a nominal 96 cents. You markup the cost 25 percent to determine a selling price. A 25 percent markup is a 20 percent margin (efer to the sidebar on this page for details). The absolute margin is 25 cents on a selling price of $1.20. Markup is a sensible way to estimate a price but be careful if you are using percentages. A 10% markup on a contract print cost and you may go broke but the same percentage on a highend fleece print including the garment and the profit is many times higher. We suggest you look at both percentage and absolute markup before you set a price. 2. Margin as a percentage is the portion of the price left over once cost is removed, divided by the selling price. Just as in the case of markup; there is no universal percentage, it depends on the cost. A small percent margin on a low cost and you will be poor. A small percent margin on a very high cost and you may make a lot of profit. Custom printers who supply the garment can deal with a lesser margin than the high volume contract printer who has no shirt to rely on for profitability. The same precautions apply to setting a price with a percentage as with margins (above). We profiled a thirteen percent margin and since it is lower, the selling prices dropped but look at what happened to the break even units of the run length. This job will not reach break even until 3,150 shirts are printed and the whole order is

Costing

Mar k up And Margin

Lets start with a dollar cost of our print. The first step is to markup the cost and we will arbitrarily mark it up twenty-five percent. The dollar value of a twenty-five percent markup on a one-dollar cost is twenty-five cents. So our percentage markup set a selling price of $1.25. Now we want to know the margin of that amount. Take the selling price of $1.25 and subtract the cost of $1.00 for a remainder of $0.25. Now divide the remainder by the cost. Twenty-five cents divided by one-dollar equals twenty percent and that is the margin. The absolute margin in dollars is $0.25 but the percentage margin is 20%. Percent markup is what you do to a cost to set a selling price. Percent margin is the same amount taken as a ratio of the selling price. Cost Percent markup Absolute markup Percent margin Absolute margin $1.00 25% $0.25 20% $0.25

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Small Change A dds Up

If you look at figure 7.41, it is apparent that most of the prices did not wander too far from the group. The deviation was minimal, but yet the outcome of such subtle swings can be enormous. When you are dealing with pricing you first want to be prepared with the real cost, and a solid estimate can be as valuable as precision to a second decimal place. Some customers want it simplejust the bottom line. Some prefer a price and then to dicker over the terms, shipping responsibility, percent allowable rejection and so on. Either way, you want to have the needed information to make a measured decision (they wont all be correct). There are four options to the negotiation: First, you establish the price and have controlled the conversion costs. Second, the customer dictates the price, but you have wisely controlled the conversion costs. Third, you set the price but have failed to identify the conversion costs. And finally, the fourth possibility is when the customer dictates the price that he is willing to pay and you still havent looked at the conversion costs. Of course the first has appeal, two and three are risky, but the fourth is a loser. A gamble at best and you do not have the upper hand. Be sure you have some level of control before you enter into the negotiation. It is your customers job to get the best price, but it is your responsibility to help the customer identify just what the best price is.

only 3600 pieces. Profit wont start until 3,151. If you are using absolute margin to set a price, there is little risk but test both before you set a price.

Chapter 6

3. In row three we set a very low, twelve-cent absolute margin on top of our ninety-six cent cost. This might occur if the boss says I wont take this job for less than twelve cents pre print. Note the changes in the markup and margin as a percentage. But if you use absolute dollars there is a clearer view of the value of the price. You dont take percentages to the bank, only dollars. 4. Starting with a selling price is very risky but it happens every day. Our price was a very appealing $1.55 but one should never set a price without a firm grasp on the cost of the work. You will see the invoice amount is better but look at the year-end impact of such a robust opportunity. So if you think that you are only dealing in pennies, think again, the year-end impact is staggering. This fragile number that you are dealing with must account for buy backs, days receivables, commissions and the actual cost of the goods. 5. This row alters two variables at once, the cost and the price. In our model the cost is reduced and the price is slightly elevated. Note the break even of 2,177 pieces and the yearend profit of over four hundred thousand dollars. The point is that there are two ways to maintain a fair profit. One is to raise the price and the other is to reduce your conversion costs. 6. The customer comes in and says I have three thousand dollars in my budget to have this job printed, are you interested? The $3000.00 sounds appealing but are you sure if it is an opportunity or a threat? You will take a loss on this job; the break even point would be longer than the run and at year-end you would be in trouble. 7. The classic entrepreneur will set a goal for the company but if it is used as a tool to establish pricing, the boss can get into trouble. It will only be profitable on some of your work but not on all of it. Should you take this approach for

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Costing
Managing Production

an extended period, your low priced work will be the bulk of your product mix. Of course if you make the annual revenue number high enough you cant lose but in the real world you may have few accounts left.

8. On the other hand, profit is an excellent driver of the selling price. This is a backdoor approach but it will suffice. If you are confident that your gross margin is in check for year-end, you will more than survive to try again next year. If your customers cant allow you a profit, you need to find other accounts, cut the costs or both.

Continuous improvement is one of the accurate buzz words of the manufacturing community. The point is that quality is a path not a destination. There are rudiments that you should apply to insure your success in this venture to improve your garment printing. 1. Planwe will assume that since you are reading this manual and near the last page, either you started at the end or you are interested in faster and better manufacturing. Your plan if the latter applies must describe that goal in detail. 2. Organizeonce you have a plan in writing you can use this manual to help you organize to support the plan. The organization includes staffing, systems and procedures for higher quality and productivity. 3. Controlthe incoming and in-house variables and you will therefore control the variance in your product. You will hold a greater market share with consistency than sporadic excellence. 4. Measureto know the truth, not your perception of reality. If you are not measuring your processes and interpreting the results then you are leaving a lot of money on the table. Our impressions are trustworthy in the extremes but in those subtle shades of most instances, humans dont see the flaws very well. 5. Recordthe results and evaluate their meaning with a SPC (statistical process control) package or other database. This gives you multitudes of perspectives on the data and speeds the decision making process. 6. Adaptto the normal variance and expect to see less of the special variance as you continue. You are to tighten the spec but also to put the range where it belongs.

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Chapter 6
How To Instructions

Managing Production
1. Plan faster and better manufacturing. 2. Organize herein this manual. 3. Control variables and therefore variance. 4. Measure - to know the truth, not your perception of reality. 5. Record with SPC or other database. 6. Adapt for variance. 7. Repeat - steps 3,4, and 5. 8. Review steps 1, 2 and 3. 9. Return - to step 1 and resume progress.

7. Repeatsteps 3, 4, and 5 to see if there are anomalies or skewness in the data as reported. With statistics more data is better. 8. Reviewsteps 1, 2 and 3. Once you have sufficient data you may want to reconsider your plan and then your organization. Your evolution will no doubt have created some opportunities that an improved plan could capitalize upon. 9. Returnto step 1 and resume progress. This is a path to continuous improvement.

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