· What tensions do you recommend?
We provide tension charts for both manual stretching and automatic stretching using our Newman Roller Master. You can download both these charts from our website at by clicking here. 

· What’s the difference between the silver bolts vs black bolts?
All silver bolts require an anti-seize lubricant prior to assembly. The newer black bolts have an anti-seize lubricant baked-on and does not require additional lubricating. This speeds up the assembly process as well as provides the perfect amount of lubrication. This prevents your torque wrench from miss-reading the torque settings.

Torque settings
Silver bolts / M3-UL: 55 ft/lbs max.
Black bolts / M3-UL: 55 ft/lbs max.
Silver bolts / MZX-UL: 45 ft/lbs max.
Black bolts / MZX-UL: 45 ft/lbs max.

· What is the difference between the MZX-UL 23”x31” OD and M3-UL 23”x31” OD frames?
The MZX-UL frame has a smaller roller diameter at 1 7/16 – inches and has a maximum tension capacity of 35 Newtons. It is more suitable for manual shops that need to print large images as well as the small auto shop that does small volume work. The M3-UL frame has a larger roller diameter at 1 5/8 – inches and has a maximum tension capacity of 85 Newtons. It is our “Automatic” frame and it is 300% stronger than the MZX model even if the printer chooses never to go above 40-45 Newtons. Although the MZX-UL can be used for automatic printing, we recommend the M3-UL for medium to large shops with multiple automatics who do not want any screen tension limitations.

· I have problems with keeping my Newman Roller Frames flat. What am I doing wrong?
If you are stretching your frames manually, make sure the table you are stretching on is perfectly flat. Next, make sure you are using a torque wrench (Not a ratchet) and that it is set to the proper torque setting. If you are using a Newman Roller Master, make sure the table is on a flat surface. There is a level adjustment on one of the legs of the Roller Master if needed. For more information, please contact Stretch Devices at 1-800-523-3694.

Torque settings
Silver bolts / M3-UL: 55 ft/lbs max.
Black bolts / M3-UL: 55 ft/lbs max.
Silver bolts / MZX-UL: 45 ft/lbs max.
Black bolts / MZX-UL: 45 ft/lbs max.

· Will Newman Roller Frames fit any type of press?
Newman frames will fit a majority of textile and graphic type presses. We recommend contacting your nearest Newman dealer, or Stretch Devices to ensure that your press will not be an issue.

· What is the most common cause of screens ripping?
There are several reasons why a screen will rip. However, the most common is “Improper Frame Care or Handling”. Because you are now using tighter screens, you must handle them with care. Avoid dropping them, dragging them or throwing them around. Where ever you see frames lying on the floor of your shop put a “mesh safe” rack there. Instead of carrying them in both hands, put them in a “mesh safe” mobile press cart and transport them to your press. Use the correct tape and/or Fabric Protectors on your frames. Contact Stretch Devices for “mesh safe” mobile Racks, mobile Press Carts and Fabric Protectors.

· Do you make custom size Newman Roller Frames?
Yes. We can make CD size frames or large format frames up to 40 feet. Contact Stretch Devices for more information at 1-800-523-3694.

· Is training available when I purchase my first Newman Roller Frames?
Yes. Contact your nearest Newman Roller Frame dealer for training.

· Can Newman Roller Frames go on a lease?
Yes. In fact, if you are in the process of leasing new equipment, consider adding Newman Roller Frames and our PinLock Registration System with the lease.

· What type of tape should I be using for my Newman Roller Frame?
We make a blue “Zone” tape specially designed for the squeegee side of the frame in that it minimizes the amount of adhesive used on the roller keeping the roller clean. We also make a “split-liner” tape that only adheres to the mesh, and not the roller. Both tapes are simple to work with and both peel off the frame in one piece.

· What tools do I need to stretch a Newman Roller Frame?
We a supply a Tool Kit that includes a specially designed Magnesium Extended Open-End Wrench, High-Industrial Torque Wrench and a High-Industrial Socket. You will also need accessories such as Alignment Clips and Corner Softening Tools.

· Is there an automatic machine that can stretch Newman Roller Frames?
Yes. We make an automatic stretching machine called a Newman Roller Master. This machine enables you to stretch your Newman Roller Frames in both directions simultaneously, and only requires air to operate. The Newman Roller Master enables you to stretch your mesh up to 20% higher vs. manually, keeps your frames flat and produces more stretched and production-ready frames per hour. We make many different models to fit many different sizes of Newman Roller Frames. Including large format.

· What’s the difference between your stretching tables vs. others?
Our Newman Roller Master is an “Automated” machine and operates by air. Unlike other tables which are done manually by having to turn one roller at a time. The Newman Roller Master is made of all metal components. The other table is made of both metal and wood components.

· Why does my mesh tear during stretching?
First, you must realize the mesh count, manufacturer and its tension requirements. Then, inserting mesh and corner softening must be done correctly. We have a stretching manual that will guide your through this process. Contact your nearest Newman Roller Frame dealer for information.

· Do you have stretching instructions for Newman Roller Frames?
Yes. These instructions can be downloaded from our website at by clicking here.

· Do you recommend using the Shur-Loc panels?
There are a few shops that do use the Shur-Loc panels successfully. There are some limitations to this product that you should know before you invest in them. Please contact Stretch Devices for more information.

· What torque setting should my torque wrench be set to?
Torque settings
Silver bolts / M3-UL: 55 ft/lbs max.
Black bolts / M3-UL: 55 ft/lbs max.
Silver bolts / MZX-UL: 45 ft/lbs max.
Black bolts / MZX-UL: 45 ft/lbs max.

· Do you have replacement locking strips?
Yes. We offer them in 50 ft. rolls. They are called Universal Locking Strips and come in White or Black colors. The White locking strip would normally be used with mesh counts of 83 or higher. The Black locking strip would normally be used with mesh counts of 60 or lower. Contact your nearest Newman Roller Frame dealer for more information.

· What should I use to clamp down on my round rollers?
We make a Clamp Adaptor that fits over the roller which will give you a flat surface to clamp down on.

· Do you have a pin registration system for Newman Roller Frames?
Yes. We have a Newman PinLock Registration System. This is a comprehensive system that addresses registration throughout the art dept., screen dept. and production.
Art Dept:
We provide a Grid Layout Board (GLB) with a Pin Bar attached to one end of the board. The board should be used on top of a light table so you can see through it. Pre-punched carrier sheets are also part of the system. You will place one carrier sheet on the (GLB) aligning it to the Pin Bar. Place your outline film of your design on the carrier sheet and position it on the (GLB) to where it should be located on the screens. Attach the positive to the carrier sheet with clear tape. Lay another carrier sheet over the top of your outline positive and then register the next color to the outline positive. Attach this positive to the carrier sheet. Repeat these steps for each additional color. Once all film positives are registered and attached to carrier sheets, send them to screen-making.
Screen Dept:
We provide a Pin Bar that matches the Pin Bar used in the Art Dept. Each of your Newman Frames must have a set of PinLocks attached on one end of the frame corners for the next step. Set your coated screen on a flat table, mesh side up, and place your Pin Bar over the PinLocks to engage it. Then, take your carrier sheets with the positives attached and lay the carrier sheet over the screen, matching the carrier sheet to the pins of the Pin Bar to locate and position the film. Tape the carrier sheet to the frame, and remove the Pin Bar from the frame. You now have your first film positioned to the screen. No measuring, no guessing, NO MISTAKES! Take the screen to the exposure unit and expose as normal. (Note: There is no need to put any other type of equipment on the exposure unit to line the frame up to each other.)
Production:
Underneath “one” of your press pallet, we will attach a swing-fixture that swings out with “pins”. You will use this pallet as normal while printing, and then swing the fixture out from underneath when you are ready to register a design. Place all the screens into the press as normal. Locate the swing-fixture pallet and swing the fixtures out with the pins. Locate this pallet underneath the first frame; engage the pins up to the frames PinLocks on both corners. The pins are either “in” or “out” , and is a very effective visual and does not require “feeling” or “guessing” if the frames are in the right position. Once the frame corners/PinLocks are engaged to the pallet swing-fixture pins, lock the frame down and repeat these steps for the next colors. When you are finish “pinning” all the colors, simply retract the swing-fixture back underneath the pallet and start your first test print. You do not need to remove the pallet. Expect to reduce your set-up times by at least 50%. The Newman PinLock Registration System has been in production for over 10 years, is proven and is extremely fast and accurate.

Note:
As good and economically necessary as these Pin-Registration Systems are, don’t be misled into thinking that they are a CURE-ALL and that there is not a learning curve. While considerably less time and skill is required during press set-up, much more skill and attention to detail is required at art and film preparation, screen-making and press maintenance if one is to realize the system’s full advantage.

· Can I take the mesh and image off the frame and use it again?
No. Doing this will distort the image as it comes off the frame as well as inserting back into the frame. You will never be able to get it to line-up to other colors within the design. If you try and do it for one color designs, you may still have problems with circles and straight lines. We do not recommend this!

· Can I retention mesh with the design still on it?
It is not recommended as you will distort the image and it will not line-up to other colors within the design.

· What is the benefit of retensioning mesh?
The benefit of retensioning mesh is to stabilize or work-hardened the mesh at 25 Newtons or more. Doing this will enable you to control many variables or problems inherent to LOW screen tension during the screen-making and printing processes. Stabilizing and Controlling your tension will allow for FASTER SET-UPS, FASTER PRINTING, BETTER QUALITY and REPEATABILITY!

· What do you recommend to protect the mesh around the rollers?
We recommend using our Fabric Protectors which are specially designed to wrap around the roller and protect the mesh during handling. In addition, we recommend our White Solvent Resistant Tape which you would place over the mesh and roller during your initial stretching.

· Do you make tension meters?
Yes. We manufacturer our meters here in the U.S. at our factory in Philadelphia, PA. Our meter is the only meter in the world with all stainless steel hardened gears; shock-proof industrial grade internal gear movement and all jeweled sapphire bearings. The Newman ST meters read from “0” to “130” Newtons.

· Can I use my Newman Roller Frames in a dip tank?
Yes. All Newman Roller Frames are 100% sealed.

· Can I use Newman Roller Frames for any type of screen printing?
Yes. We manufacture frames for many types of printing including, CD, Textile, Graphics, Large Format, Industrial and Specialty Printing.

· Why should I use Newman Roller Frames, I only do spot prints?
Because you can control your screen tensions, using Newman Roller Frames will give you a better deposit of ink ON the garment and not INTO the garment. This will allow your white inks to print brighter and with a much smoother hand using only one squeegee stroke. Registration will also be more accurate due to tension control.

· I am a NEW PRINTER, why should I start with Newman Roller Frames?
Screen printing has a long list of variables. The majority of these variables can be avoided by doing one simple thing. Control your screen tensions! Whether you are printing a simple 1-color design, or a difficult process design you will need a common tool, the frame. Regardless of what mesh you use, you will be able to immediately eliminate a whole list of variables in the printing process simply by being able to control your screen tensions. You cannot do this with a static wood frame or aluminum frame. Start your business with the right frame for ANY type of work that comes your way.

· Besides a better ink deposit, what other benefits does higher and controlled screen tensions give you?
A higher and stable screen tension will give you better registration, consistent coating thickness of emulsion, faster and more efficient reclaiming, emulsion savings, ink savings, faster set-ups, less wear-and-tear on squeegees and presses, consistency and repeatability from job-to-job.

· How does stable and well tensioned screens affect Graphic Printing?
CONTROL, CONTROL, CONTROL! Can you print a job without stopping to re-register, modify inks, or slow down your press just to make a job print correctly? Newman Roller Frames will allow you to print more efficiently, therefore being more productive.

· Are there any Articles published that I can read about Newman Roller Frames and its technology?
Yes. Our website has several detailed articles by Don Newman that are worth reading to better understand the theory behind screen tension and how it relates to our products.

Discharge printing can be a valuable addition to your operation. Discharge is not a use-it-and-forget-it product. Discharge printing comes with safety precautions, issues with finished goods, and procedures for a healthy shop environment. These issues are not that difficult to deal with and cannot be ignored. Be prepared to properly handle the discharge products or don’t even try them.

Methods of using discharge

Discharge inks require an activator/catalyst to work; there are two different systems available. The predominant system relies on active ingredient Zinc-Formaldehyde-Sulfoxylate (ZFS). The newer, and less used system relies on Thiourea Dioxide as its active ingredient. There are different name determinations dependant on what the ink company calls it, in most cases formaldehyde is the active ingredient. In both systems, the ink has a limited discharge life once the activator is added. There are two methods of discharge printing, both systems can be used.

1.       The first and most traditional printing method is to discharge every color in the print; there is no need for an underbase screen. This method saves a screen and does away with flashing between colors. The exception to this rule is when a black-ink screen is needed. There’s no need to use discharge if the black will cover without it. When printing on black, any black that is on the design is reversed, that part of the design will use the shirt color itself.

2.       The second method is to use discharge strictly as an underbase. With this method, you can use either white discharge or natural discharge, which contains no pigment and reveals the natural color of the fabric. The following colors are printed with regular plastisol with or without flashing.  Some prefer not to flash the discharge underbase. This saves the head used for the flash and any cool down heads. The end result is that printers can increase the amount of colors they can print on dark shirts by one or two.

The undwhite discharge erbase works well for most design types, especially spot-color work. Even though the other colors are printed using plastisol, the overall print has a less heavy feel because the underbase is a water-based product. If a design contains halftones or other areas with very thin ink deposits, then a natural discharge would work much better. The pigment in the white discharge underbase might mix with the process inks and shift their color. This is usually a problem with spot colors.

Discharge ink underbasing makes true 4 color process printing on dark fabrics possible. For process printing do not use a white discharge underbase. When the white pigment mixes with the transparent process inks, they will turn pastel and muted. Work with a natural discharge underbase that will reveal the natural cotton background color using a highlight white to make the design pop. Process-ink systems can be beefed up using triple-strength versions to compensate for the natural background thus overcoming the off-white background color. Again if the design contains any white color of its own, print a white highlight that is designed to print with the process inks using this application.

Safety issues in production

Water-based ZFS-activated discharge is the most used and the most versatile method of discharge printing. ZFS has an unpleasant odor and should be handled carefully in its crystal form then blended into the ink by a properly trained employee. Always blend the ZFS slowly until it is well mixed in the ink to prevent dust, ZFS is relatively safe once in solution. Formaldehyde is a skin irritant. Proper procedure dictates dryers should be properly vented, never use an unvented dryer for discharge curing. Shirts printed with ZFS discharge have measurable levels of formaldehyde. Garments that are allowed to sit for a time after printing in an unconfined state will disperse most of the formaldehyde within days. If at all possible, avoid folding and packing ZFS-discharged garments immediately after printing.

Water-based Thiourea dioxide discharge should also be handled with care; it’s a strong oxidizer that must be kept in a sealed container. The same precautions that are recommended for ZFS apply to Thiourea dioxide as both are strong oxidizers to be kept in sealed containers. Efforts should be made to minimize dust when pouring the crystalline powder into the mixing container, occasional direct contact is not considered an immediate health threat but advisable to avoid excessive contact.

Here’s a pretty cool video to give you a look at a booth at a trade show.

Plotters
A plotter is a vector graphics printing device that connects to a computer. Plotters print or cut their output by moving a pen/knife across the surface of a piece of paper or film. This means that plotters are restricted to line art, rather than raster graphics as with other printers. They can draw complex line art, including text, but do so very slowly because of the mechanical movement of the pen/knife. (Plotters are incapable of creating a solid region of color by pen)
When computer memory was very expensive, and processor power was very slow, this was often the fastest way to produce color high-resolution vector-based artwork, or very large drawings efficiently. Plotters coupled with a hand-cut water soluble film that is weeded out in a negative form after cutting then applied to a screen, this is but one option to a printer that’s already doing vinyl signs.

In addition to this blog you can learn more info about screen printing here as well as sign up to take a comprehensive class about screen printing and get one on one instruction and learn from the pros.

The term actually stands for “Joint Photographic Experts Group,” because that is the name of the committee that developed the format. But you don’t have to remember that because even computer nerds will think you’re weird if you mention what JPEG stands for. Instead, remember that a JPEG is a compressed image file format. JPEG images are not limited to a certain amount of color, like GIF images are. Therefore, the JPEG format is best for compressing photographic images. So if you see a large, colorful image on the Web, it is most likely a JPEG file.

While JPEG images can contain colorful, high-resolution image data, it is a lossy format, which means some quality is lost when the image is compressed. If the image is compressed too much, the graphics become noticeably “blocky” and some of the detail is lost. Like GIFs, JPEGs are cross platform, meaning the same file will look the same on both a Mac and PC.

GIF

Both GIF and JPEG images are widely used on the Web and are supported by all Web browsers and other Web software. The choice is usually a simple one. Charts, screen shots and technical drawings are compressed best as GIFs, and GIFs only hold up to 256 colors (8-bit color). Most all photographs are better as a JPEG, which supports 24-bit color and has the option of several compression levels (the choice depends on how much degradation you can tolerate). If you save a scanned image in both formats, you may see a dramatic difference in file size between them.

BMP

BMP (short for bitmap) is a graphic format used internally by the Microsoft Windows graphics subsystem, and used commonly as a simple graphics file format on that platform. BMP files are usually not compressed, so they are typically much larger than compressed image file formats such as JPEG or PNG. Despite its shortcomings, the simplicity of BMP and its widespread use in Microsoft Windows and elsewhere, as well as the fact that this format is well-documented and free of patents, makes it a very common format. As such, many image programs are likely to be able to read in BMP files.

SPOT COLORS

A spot color is a specially mixed ink that is applied on the printing press, as opposed to a mix of the four inks which make up process printing. Spot colors can be produced in a much more vibrant range of colors, and can have special characteristics which aren’t available in process inks, such as day-glow or metallic ink. Because they only use one screen, spot colors can reduce the cost of printing if you limit your ink choices to black and one spot color. For example, if you choose to print a red and black logo in process inks, you will actually need three inks on three screens (with associated , etc): Magenta, Yellow, and Black.

However, if you are already printing a full-color piece, adding a spot color will dramatically increase the cost of printing. You will add one more color to the four colors needed to produce, for example color photographs. It then is a five-color job requiring five inks, five screens, five positives, etc. Many companies make spot colors, but the most popular is Pantone, Inc. They not only make and sell inks, but they have a process which enables printers to mix the exact same colors from a set of base inks

If you can draw the artwork yourself, it is wise to use a vector art program like SmartDesign which is a Corel Draw supplementary program. This quick and easy tool ensures that you will have high quality artwork in the end in less than half the time. Photoshop can be used as well, but this is more for full color printing, etc., which is not good to start out with since there are special techniques to master before moving into this realm.

2.    Film Positives:
When you have artwork that is ready to print, you can print your artwork out on a clear film instead of paper. For every color you have, you will print it out as a black plate on a separate film. For example, if you have a logo that is Red & Black, you would separate the two colors from themselves and print each out, changing the red to black and printing and then printing the black. Each of these would be printed on their own film by a printer, inkjets have made great strides and coupled with a RIP program have made actual cameras and darkrooms almost obsolete.

This is simply known as art separations. If the colors are touching in the final version of the logo, then you need to have what is called trap or choke. Basically, it’s an overlapping of the artwork by a small margin. This small margin is just enough so you can register the colors so there is no space between them. On the films, you will also place registration marks. These marks usually are a circle with a vertical and horizontal line passing through it. These marks will be on the same spot on each film. This will help you register your colors later it’s also a good idea to include center marks so the design will be dead center on the platen.

3. Screen Making:
When screen printing began it was called silk screening. The reason for this is, the screens used to be made from silk. Since this is no longer the case (now they are made from polyester), the name changed. A screen is simply a wooden or metal frame that has a fine mesh stretched over and attached to it. Some examples would be 83, 110, 125, 200, 230 and so on with various numbers in between. The lower the mesh count, the less detail you can print and the thicker the ink lays down. Choosing the proper mesh for the job is art form, in time you’ll learn through testing and results. It’s always a good idea to keep production records for consistency from the beginning of every job.

The actual process of screen making is quite simple, just time consuming, the most
common technique is using a light sensitive liquid emulsion although Capillary film is stilled used. Emulsion can be used under a yellow light so that you still can see what you are doing, but the UV light is filtered out so as not to effect the emulsion. A scoop coater is needed. You pour emulsion into the scoop coater and place it on a vertical screen. Pressing up against the screen and pulling up, you will lay a thin layer of emulsion on the outside of the screen. Turn the screen around and do the same for the inside of the screen. Emulsion thickness EQUALS ink thickness. For thicker stencils it’s a good idea to dry between coatings.

Once the emulsion dries, you can “expose” the screen. You need a good light source for this process. The exposure unit is basically a box with a glass top and a lid that has a compression lid or a rubber blanket and a vacuum frame. The light source would be contained in this box. To expose a screen, taking the film positive you created and place it on the glass top with the right reading being up. Then take the dried screen and place it on the glass top with the film positive under it. The screen mesh will be touching the film positive. When you close the lid, the compression lid presses the foam against the screen and the positive providing contact

At this point, the length of time will be dependent on your emulsion and light source. This is something you can talk to your supplier about. It’s really a matter of testing. Most problems occur in this stage, so it is critical that you understand this process through testing, training and trial and error. The better you are in this area, the better your prints will be. For a black light unit a 5 to 3 minute exposure time is the norm but will vary as already mentioned due to emulsion thickness and mesh count.

Once the image is exposed into your emulsion, you can take the screen to a washout booth lightly spray both sides of the screen with water. A garden hose with a sprayer on the end works well for this procedure. You do not want a lot of pressure but you do want some. After waiting for a minute, you can go back and begin spraying your screen with water. Spray on the outside of the frame, or the side that was touching the film. The inside will naturally be softer because the light had to shine through the emulsion to get to that side. A good exposure will yield less scum (softness) on the inside.

As you spray down the screen, you will see the image on your screen. What happened is, wherever there was black on your film, the light did not shine through. Since the light could not expose the emulsion, it remained water soluble. Wherever the light shine through the emulsion, it hardened and will not wash away. Lay out newsprint and pat the inside (squeegee side) with one sheet, DO NOT wipe then let the screen(s) dry. You will want to check for pinholes (little holes caused but dust, dirt) and block out with emulsion or a commercial blocking agent, then dry. After the screen has completely dried expose again (post –hardening) for a longer lasting stencil. This can be done in your exposure unit or out in the bright sun.

4.    Printing Press:
Choosing a printing press is as critical, although you are looking for a quality press. To be honest, you may want to stay away from all-in-one units and similar machines. They are a waste of money. Even though you can print just as good of a print with these machines, they are costly and they slow your process down. When your first starting, you could use a one platen machine but a 4 color-2station press is just about what you will need. Very rarely will you ever need to print anything more than a 4 color design. Later, as you grow purchase more machines that will allow for more colors. In the first years of your business, you may only have 1-6 color job. When you need to expand will suit production requirements perfectly. What you are looking for in a press is a solid frame, joystick or micro registration and rotating platens. Outside of this, startups don’t need much more than that.

5.    Conveyor dryer and flash unit:
To actually cure the ink, you need a heat source to reach 320 degrees for your ink. If you can reach 320 degrees in 1 second, it’s cured. If it’s 10 seconds, it’s cured. As long as it reaches 320 degrees, you are good. A flash unit is a unit that you place over your platen (the arm that you place the shirt on). This flash unit is meant to flash the ink just long enough where it is not cured and it is not wet. This will allow you to print colors on top of colors if needed, and you will need it! If you have a flash unit over a platen, it has to reach 320 degrees to cure the ink.

Raytek makes a heat gun that when the shirt comes out, you point the laser beam at the ink and it will give you a temperature reading, 320 is the magic number! This heat may eventually warp your platens, it will also heat your platen up enough that when you put another shirt on it and print, it might semi cure the ink in your screens, causing a clogging and poor printing so allow cool down time on long runs. The reason for this is, you would print white on a shirt, flash it, and then when the shirt comes back around to you, and it needs a second print. This gives you a good vibrant white.

If you are printing a color on a dark shirt, you would also print a white under base, flash it, then print an exact image with a different screen over top of it with the color you need. To increase your output a conveyer dryer is needed to increase your production. When you finish printing a shirt, you pull it off of your platen and place it on the conveyer dryer. Basically, it’s a dryer that has a belt on it that goes through a tunnel of heat. When it comes out the other side, it is cured. Again, use a heat gun when the shirt is about to come out, you point the laser beam at the ink and it will give you a temperature reading. Remember, 320 is the magic number!

6. Inks and miscellaneous:
The ink you will use is a Plastisol ink. There are so many manufacturers and types of inks, it’s good to find one and stick with them. Consistency is the key to success
You will also need squeegees. A squeegee is basically a handle with a rubber blade on the end. This blade is what you use to push or pull the ink through the screen and onto the shirt. There are so many miscellaneous items that it would be good to talk to Ryonet about what you need to get started

7.    Screen prep and registration:
Your scoop coater cannot reach all areas of the screen, so you want to tape out the areas that did not have emulsion, there are special tapes made to do this.
If you have a one color design, placing the screen on your press is quite simple. If you have more than one color, this is where the registration marks are needed. After placing your first screen on the press, you would do a test print. Place some ink on the screen and rest a squeegee on the frame close to the head. Pull the ink across the screen and onto the shirt then flash it. Next, take your second screen and place on the next head.
Align the registration marks on the screen to the marks on the print you made. Once in place, you can lock them in and adjust the joystick or micro registrations if necessary. Once locked in, do a test print. If everything is registered, you can tape up the registration marks on your screen and you are ready to print.

8.    Your first print:
You will be working upside down when you print t-shirts. The collar will be closest to you. After placing the shirt on the platen, pull your screen down, look between the shirt and the platen, you should have a gap. This is called your off-contact. You need about 1/8” between the screen and the platen. This will give you just enough room to make a print and allow for the screen to snap away from the shirt which gives you a clean print. Some people will push their squeegee and others will pull, whatever is comfortable to you is best for you.

Most printers pull the squeegee, which means that when you pull down the screen, grasp the squeegee and pull the ink towards you. You want to have the squeegee at an angle, if you go too much of an angle, you will get a heavy print The good thing is, if the first print does not work out for you, you can print it again, right over top of it. The registration of the machine will be the same so even if you rotated the press and came back to it, it would still print good. Rule of thumb; Angle and slow speed for light inks, less angle and a faster print for dark inks, especially printing on an under base.

Examples of Discharge Prints.

Standard Discharge	Dye Discharge: Click to Enlarge

DSPS Discharge needs to be activated by Discharge Agent which is a powder that is mixed into the discharge ink 6-10%.  You should only activate as much discharge as you will need to print at a given time as it does have a life span of about 6-8 hours once mixed.  Discharge Agent is a powder and can be ordered by the pound here.

PLEASE NOTE: YOU MUST HAVE DISCHARGE AGENT IN ORDER TO USE THE DSPS DISCHARGE SYSTEM!

To add dye into your discharge use the Ryonet EnviroLine PC 301 Pigment Inks.  PC stands for pigment concentrate and are mixed at a ratios between 5-15% (typically about 10%) into the activated discharge base. PC pigments are available in quantities of 4, 8, and 16 ounces.  

Discharge ink can be used with most 100% cotton shirts (does not work on poly or poly blend fabrics).  We recommend that you consult your shirt supplier to find out which garments SKU’s are the most discharge receptive.   Always test as results may even vary from batch to batch on the same type of garment.   

Confused about water based and discharge inks?
Here are a few helpful application charts.

Ryonet Water Base Discharge does require certain safety precautions when mixing and printing.  

Read more about discharge printing and instructions for use below!

MESH:80-160

STENCIL/EMULSION: A water proof direct emulsion should be used for optimal performance. SWR-3.

SQUEEGEE: 60-80 Durometer square edge. (Ryonet recommends 60 or 70 Durometer)

MIXING:

You see, screen printing can be inexpensive to start or outrageously expensive (expensive startup can mean huge profits!) but it’s always important to have a plan.  Don’t just jump in, do some research, develop a strategy.  If you’re just in it for the hobby of it and anything you sell is just bonus that’s great.  There are many large productions shops operating today that started out with very humble goals, and even more shops that started out as a hobby and stayed a hobby.  Success is all relative and what matters is the plan you devised from the beginning and whether you are achieving what you want.  So take your time, do your research, and plan for the future.