Small manual stamping

For fashion students and clients interested in the process of textile printing S
tamp Prints made using the picture frames, or screens, screen printing or silk-s
creen, or "screen-printing" in English. Can be manual or mechanized. Colori in t
he system is manual. But there are vending machines, seating up to 12 frames, wh
ich are actuated mechanically or pneumatically. Print up to 80 meters per minute
. A beauty to watch. But a very high investment that is justified only for high-
volume continuous production, as in the case of plant tissue. Frames, or screens
, or matrix is the fundamental tool of silk screening or screen printing. Basica
lly consists of the frame and a gauze or cloth, stretched and fixed on the frame
. Originally the paintings were stretched with silk, hence the name Seri (silk i
n Latin) spelling, or silk-screen (in English silk = silk, screen = screen). Tod
ay, it uses technical fabrics of polyester, high precision, manufactured exclusi
vely for this purpose due to its excellent dimensional stability ensures that th
e record of the colors of the print. In Colori we use the best fabrics Swiss pol
yester monofilament. Frames can be wooden, aluminum or iron. We use all our staf
f in standardized measures, with frames in rectangular profile of galvanized iro
n, known in the market as "Metalon. The Metalon is offered in various sizes and
wall thicknesses, allowing mount up pictures with the resistance that is desired
, to support the high tension of the stretch fabric, which reaches 28 Newtons. T
he screens have two screws for support and another with a "keeper." The screw re
gulate longitudinal movement of the print at the time of registration and brace
for lateral movement. These three elements, properly adjusted, it can allow each
color imprint in their proper registration. Record is the exact fit of each col
or of the design in other colors that make up the design. Usually already writes
the screens properly recorded. The paintings are engraved with the image of eac
h color component of the design. For this it uses is a photographic emulsion tha
t is applied uniformly and with great technique, the fabric of the table with a
suitable applicator. After drying in a horizontal position - not to drain - the
screen can then be recorded. Press to artwork or photolithography between the sc
reen and a glass (with weights or vacuum) and
exposes itself to a light source for a certain time. After this, with a jet of w
ater soaks up the screen. The protected area for art, which received no light, i
t hardens, and falls, leaving open the area where the ink will pass during print
ing, reproducing exactly the original design. For the arts complex, as quadricom
ia separations indexed or even specialty printed electronic circuits, is used di
azo or photopolymer emulsion, which require a high degree of ultraviolet emissio
n for perfect recording of the desired image. In Colori use the best source of m
etal-halogen lamp manufactured in Brazil, with a high dose of ultraviolet radiat
ion, to record our screens accuracy. Plate cylinder Prints races held in the sta
mping machines, which use up to 12 cylinders (which is a cylindrical screen made
of nickel). They can stamp something like 50 meters or more per minute. Machine
s are expensive, typically used in fabric and knitwear factories. On older machi
nes you could spend about 300 meters or more to set the record all colors, and t
hese losses were going to stores to stock tips from the factories of tissue. Tod
ay there are machines with modern digital adjustments that reduce it to a minimu
m. With drums, you can stamp continuous stripes in the longitudinal direction, t
he direction of urdimento. Fabrics are weft (transverse) and urdimento (longitud
inal). Allows continuous areas plateaus ink; as "since" leaked to the color of t
he fabric, impossible to be at the table. Pattern race in Sao sublimate transfer
prints that are transferred from a paper previously printed with the ink dye su
blimate ("dye sublimation" in English). For the printing run, such papers are pr
oduced in specialized coils for graphics, the process off-set. " The coil of pap
er and roll the fabric are fed a special rolling machine that transfers the patt
ern from paper to fabric by heat and pressure. The result is beautiful and highl
y accurate. But the drawback of only serve to stamp fabric of polyester, and dep
endence on imported papers preprinted. Pattern located Prints made on cut pieces
. Can be manual, as we do today in Colori, or mechanized automated carousels, ho
w they use one or Hering South Plant, which have several of these machines. Just
ified when production batches are large and many,€as more than 3000 pieces per
pattern. Can be printed at the same table where they make the prints races in cr
ibs or aluminum heating in carousels manuals, or even loose plates of "duratex.
We use all these resources to maximize our production and make the most of the f
actory area. Prints Pattern race held in the fabric or mesh tube. As we have see
n, either manually or mechanized. The secret of the print run is in making up th
e art form in which each consecutive hit the screens, the amendment of a hit wit
h the other is not perceived, that the pattern still shows a quite uniform, as i
f the amendment did not exist. This "amendment" call "rapport", also called on t
he Portuguese atacadura. Call rapport also the width of each hit, or rather the
distance between the crosspieces of record that defines the distance between the
stops of the table that will ensure the perfect fit for each consecutive hit. I
f the rapport is marked wrong on the table, or is a gap between each beat or pat
tern to climb on each other, leaving a mark that will ruin the print. We do all
our arts standardized with 80 cm of rapport. Fake ran Prints made on pieces of c
ut fabrics, or "paneaux" but without continuity of rapport splicing of a stampin
g to the next. Used in very small prints that have no printing long tables, to s
imulate the print run - without any commitment of rapport and are easier to acco
mplish. In this case the "paneaux" are infested cut and scratched and made. The
tissue loss is greater, but the only way to make a dummy run in a small area. Yo
u can do so false run race. Pattern as if it were running, but each beat of the
screen does not seam to another. It has to be cut in paneaux and infested (stack
ed) as already mentioned. There are some prints where this is desirable. For exa
mple, stamping the flag of Brazil, one after another in a tissue to the subway o
r a fancy "hit-ball" for a block of Clovis, who come to us every year. Or dresse
s, where the main flower has to be at chest height. Or, do a screen for showing
longitudinal stripes in a size that gives a pair to cut, with a particular scree
n size, with the appropriate rapport. Longitudinal stripes can not be stamped on
the frame, since the amendment is marked in ink on ink. No area can still be pr
inted on the printing table with just drums. To enable the printing of pictures
of some designs, utilize resources to enable each beat to flow to the other with
out perceptible seams. We use the elements of the pattern to create a path of th
e amendment - twigs, leaves, or any other reason which the pattern.
There are basically paints the following systems of ink to stamp tissues: With p
igments Pigments are solid materials, ground very fine, in various colors. Added
at the doses to a certain base or water-based paste containing fixative, emulsi
fier, softener, water, preservatives and other additives, are the ink stamping.
There are folders (water-based) healing outdoor (acrylic) or heat cure. The past
e with acrylic resin, curing in air, is often used in shirts, and cure in air ov
er 72 hours. They are very practical for prints located, but have a touch more s
olid, and unpleasant for a whole printed blouse or dress. Folders heat cure, on
the other hand, have a softer and softer. Once washed and softened get better. A
re what we call ink TT - translucent inks to be printed on white fabrics. When p
rinted on colored fabrics they make up with the background color to form a third
color, which is often what you want. In the case of black ink the result is alw
ays black, and it is most useful, since it has a printed fabric in two colors an
d it was printed a single color, black. Pigments added to require more excess fi
xative, which hardens and paper to print - so do not even try to copy some very
intense colors of dye, pigment. Dyes paints are made with chemical dyes whose ou
tcome is usually excellent: rich, vibrant colors and absolutely no touching, bec
ause they change the color of the fiber without adding any solid matter. It is w
hat is in the finest clothes, the silk scarves, sarongs on the beach (depending
on the viscosity of the paste, the print also appears on the other side of the m
aterial. They are called reactive dyes, used for prints poplin, viscose, silk et
c.. To stamp lycra and polyester they use the acid dyes. Why not use it? is a mo
re complex and expensive: the control of color is tricky (only see the final col
or after washing)€the printed material must be vaporized in equipment using boi
lers and then have to be washed to unload the excess dye. The colors must be cho
sen from previously prepared cards that have been washed and show the final colo
rs. The hard part is lots of new colors are provided exactly the same as used fo
r the cards. This can also occur with pigments - so always use the pigments Baye
r. The dye, when done well, is a wonder, not so well done can be a disaster. Unl
ess you're stamping for their own use. Then nobody will know it was a disaster.
But to meet the specifications of a customer, ever seen!
In Rio de Janeiro there are service providers doing race in reactive dye print.
Clothing manufacturers, when requested by the stores, they have to do in Sao Pau
lo. But there are prints that adorn lycra with acid dyes made up for the beach a
nd lingerie line, as the Sayonara Rosset in Rio and Sao Paulo. You can stamp wit
h pigment lycra, but the result is not as pretty or have the same strength of dy
e. Strength refers to the ability to fix the paint on the material published. Bu
t do many prints are located in parts of lycra cut with plastisol ink - as parts
of bikinis, swimsuits and clothes line aerobics, applying glitter, glass beads
and bright. Transfer sublimate papers are printed with an ink dye acid that when
pressed with heat on a fabric with polyester in its composition, tranfer printe
d the stamp firmly onto the fabric. There are machines or presses, working with
paper in reels, which transfer the pattern to a fabric continuously fed in paral
lel on the machine. As these papers are printed in offset, just like paper magaz
ines can be an extraordinary print quality. Almost all clothing in high quality
polyester fabrics are printed as well. When we bring these to a print copy, the
task is difficult or even impossible - that would have access to photolithograph
s original pattern in question. The only restriction is that it is restricted to
drawings brought by importers of the role of transfer (of France and Germany in
general). There has also control over exclusivity. Unless one buys the whole ba
tch of several thousand meters. In the case of prints located, or even false run
, we press with a 1 meter by 90 cm which allows us to use paper made by an autom
atic printer for papers or, if the quantity warrants, a specialized graphics pri
nt, offset, and obtain an excellent result. We started doing this in 2000 and ha
ve done very nice work. Plastisol ink is a PVC-based plastic. She has a touch st
ronger, it is often desirable customer. They have to be cured in an oven to 165
º C. The material has to withstand this temperature without shrinking or yellow
ing or color change. Moreover, all material must be tested before they start cut
ting and printing. It is a paint that has a wonderful quality in relation to pro
ductivity and mechanization of print: they never run dry, do not clog screens, a
llowing the ink drop on the screen and go to lunch. They do not dry, they are he
aled, and fuse the material where they are being printed.
In the U.S., fans of productivity, practically only use this paint for shirts. I
n automatic carousels can only use this ink because, as not dry or burlap fabric
s, production is not ruined because of some color screen color became clogged an
d failed. In our heat, few pieces were printed before all the colors begin to dr
y on screens. Moreover, the end of the day you can leave the screens in place, p
roperly in the registry, to resume work the next day. We are learning to use the
potential of the coating. We have used very successfully in many designs and pr
operty, but there is still much to be brave and learn. Ink coverage are used whe
n you wish to stamp on fabric or colored nets, especially in darker colors. TT m
ay be, or acrylic plastisols. Receive, in its composition, titanium oxide, finel
y ground coffee. In the case of water-based inks, pigment white adds another fac
tor of serious clogging of screens. The white pigment is much larger than the co
lor pigment: like comparing a football with a contained. When using paint used t
o cover the screens need to be stretched with a woven fabric with a more open, a
llowing the ink to flow without causing blockage. The plastisol ink coverage doe
s not clog, and works with screens where water-based paint could not be used. Th
is allows fine details,€even in thin white letters on dark fondo, or reticle po
lychrome or indexed. The ink coverage are usually replanted, ie, pattern-of like
a second coat in order to make an efficient coverage. In the pattern we seek to
use race coverage paints sparingly, because there are only a touch more solid d
ue to deposits of more white pigments, as these colors are not peaking. Peak col
ors in the print run to become expensive too. So the white is half off-white or
dirty white. If the background is light colored or pastel coverage is very good.
All our special paints water-based inks are prepared by us, using products from
Bayer. For making other special inks add components to obtain other visuals. In
this category are the dyes to expand (or "puff"), pearl paints, which adds a ve
ry expensive imported product, called Iriodin.
We also use metallic pigment inks to get gold, silver, bronze, old gold. There i
s also the addition of "glitter" and glitter. The "glitter" is purple with a sli
ghtly larger particles. It is normally done in metallized polyester, and comes i
n many colors besides the traditional silver and gold. These inks can be used bo
th in print and in the race located. The plastisol inks are used only in localiz
ed pattern, since it will not dry as there is no way to cure the intermediate be
tween the colors, it is possible to cut parts stamping.
We have many special processes prints using special processes, or a combination
of several processes: Flocking-apply a layer of flakes (usually rayon) electrost
atically driven, to give effect to the velvet design. Glass beads, in various si
zes, gives a beautiful reflection or simulates bright. Metallic Foil-press is a
sheet metallic film applied to design a gold, silver or metallic colored. Colore
d beads-apply these elements in detail the design pattern or even a little more
delicate. Bright, star studded and Swarovsky-used to make rings and embellish pr
ints. It is still possible to combine these processes, add embroidery or crochet
, or leaves, wool yarn, felt cutouts, or what creativity to invent, and the tech
nique allows. Obviously there are costs associated with this creative journey, t
hat many customers choose to be cutting edge, or that their clients can absorb s
uch costs on behalf of differentiation.