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Mewt Jury Assignment.

The document discusses different types of traditional printing techniques, including screen printing, block printing, and batik printing. It provides details on screen printing, describing the basic screen printing process which involves creating a stencil on a mesh screen and pressing ink through it to transfer a design onto a surface. The steps involve creating the design and screen, exposing the emulsion, washing it to create the stencil, preparing and printing the item, and drying the final product. It also discusses some common screen printing equipment like presses, inks, screens, squeegees, and washing stations. Block printing is introduced as a technique that uses carved wooden blocks covered in dye that are pressed onto cloth to create patterns.

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0% found this document useful (0 votes)
78 views37 pages

Mewt Jury Assignment.

The document discusses different types of traditional printing techniques, including screen printing, block printing, and batik printing. It provides details on screen printing, describing the basic screen printing process which involves creating a stencil on a mesh screen and pressing ink through it to transfer a design onto a surface. The steps involve creating the design and screen, exposing the emulsion, washing it to create the stencil, preparing and printing the item, and drying the final product. It also discusses some common screen printing equipment like presses, inks, screens, squeegees, and washing stations. Block printing is introduced as a technique that uses carved wooden blocks covered in dye that are pressed onto cloth to create patterns.

Uploaded by

Abhivyakti Arun
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
You are on page 1/ 37

MEWT TEAM MEMBERS :

ASSIGNMENT
UNDER THE GUIDIANCE OF – PROF. GARIMA
ANKESH RAJ (04)
HARSH TOMAR(14)
CHANDAN PATEL(10)
ANAND PRASHANT TRIPATHI(22)
CONTENT
 SCREEN PRINTING
 BLOCK PRINTING
 BATIK PRINTING
 DIFFERENT TYPES OF BLOCKS
SCREEN
PRINTING
 Screen printing is the process of pressing ink through a stenciled mesh
screen to create a printed design. It’s a popular technique used in a whole
range of different industries.
 It is an effective technique for creating bold canvases , posters and
artwork, but the method can also be used to print fabrics and textiles, so
it's great for creating all sorts of custom clothing and products.
 Screen printing is the process of transferring a stenciled design onto a flat
surface using a mesh screen, ink and a squeegee. Fabric and paper are the
most commonly screen-printed surfaces, but with specialized inks it’s also
possible to print onto wood, metal, plastic, and even glass.
 The basic method involves creating a stencil on a fine mesh screen, and
then pushing ink (or paint, in the case of artwork and posters) through to
create an imprint of our design on the surface beneath.
 The process is sometimes called 'silk screening' or 'silk screen printing'
and while the actual printing process is always fairly similar, the way the
stencil is created can vary, depending on the materials used.
SCREEN PRINTING
PROCESS
STEP 1: THE DESIGN and SCREEN IS CREATED
To start, the printer takes the design they want to create on the
finished product, and prints it out onto a transparent acetate film.
This will be used to create the stencil. Next, the printer will
choose a mesh screen to suit the complexity of the design, and
the texture of the fabric being printed. The mesh screen is then
coated with a layer of light -reactive emulsion, which will harden
when developed under bright light.

Step 2: THE EMULSION IS EXPOSED


The acetate sheet featuring the design is then laid onto the emulsion
–coated screen, and the whole thing is exposed to a very bright light.
The light hardens the emulsion, so the parts of the screen which are
covered by the design remain in liquid form. If the final design is
going to include more than one color, then a separate screen must be
used to apply each layer of ink. To create multi –colored products,
the printer must use his skill to design each stencil, and line them up
perfectly to ensure the final design is seamless.
SCREEN PRINTING
PROCESS
Step 3: The emulsion is washed off, creating the stencil
After the screen has been exposed for a set time, the areas of the
screen not covered by the design will have turned hard. Any
unhardened emulsion is then carefully rinsed away. This leaves a
clear imprint of the design on the screen for the ink to pass
through. The screen is then dried, and the printer will make any
necessary touch –ups or corrections to make the imprint as
accurate as possible to the original design. The stencil is now
ready to be used.

STEP 4: THE ITEM IS PREPARED FOR PRINT


The screen is then placed on the printing press. The garment being
printed is laid down flat onto the printing board, underneath the
screen. There are a number of different presses, including manual
and automatic styles, but most modern commercial printers will use
an automatic rotary printer, as this allows several different screens to
work at once. For multicolored prints, this sort of printer can
also be used to apply the separate color layers quickly.
SCREEN PRINTING
PROCESS
Step 6: The ink is pressed through the screen onto the item
The screen is lowered down onto the printing board. Ink is added
to the top end of the screen, and a squeegee is used to pull the
ink along the full length of the screen. This presses the ink
through the open areas of the stencil, imprinting the design on
the product underneath. If the printer is creating multiple items,
then the screen is raised and a new garment is placed onto the
printing board. The process is then repeated. Once all the items
have been printed and the stencil has served its purpose, the
emulsion is removed using a special washing fluid so the mesh
can be reused to create new stencils.

Step 7: The product is dried, checked and finished


The printed product then passes through a dryer, which 'cures' the
ink and creates a smooth, colour fast finish. The final product will be
checked and washed thoroughly to remove any residue, before being
passed on to its new owner.
GUIDE TO
SCREEN
PRINTING
EQUIPMENT
SCREEN PRINTING
PRESS
While it is possible to screen print with just a mesh screen
and a squeegee, most printers prefer to use a press, as it
allows them to print lots of items more efficiently. This is
because the press holds the screen in place between prints,
making it easier for the user to swap out the paper or clothing
being printed.

There are three types of press: manual, semi -automatic, and


automatic. Manual presses are operated by hand, meaning
they’re intensive. Semiautomatic presses are partially
mechanized, but still require human input to swap over the
items being pressed, while automatic presses are completely
automated and require little to no input. Businesses that need
to print items in large quantities will normally use a semi- or
fully automatic press, as this allows faster, more efficient
printing and minimizes mistakes. Smaller companies, or those
who do Screen printing as a hobby, might find that a manual
table-top press (sometimes called a 'handbench' press) is
better suited to their needs.
THE INKS
The ink, pigment or paint is pushed through the mesh screen
and onto the item being printed, transferring a coloured
imprint of the stencil design onto the product. There’s much
more to choosing an ink than just picking a colour. There are
lots of specialist inks, which can be used to create different
effects on the finished product.

For instance, a printer may use glittery inks, texturized inks, or


puff inks (which expand to create a raised surface) to create a
unique look or feel. The printer will also take into account the
type of fabric being screen printed, as some inks will work
better on certain materials than others. When printing
clothing, printers will use a type of ink which becomes
machine washable once it has been heat -treated and set. This
produces a colour fast, long- wearing item that can be worn
again and again.
THE SILK SCREEN
The silk screen in silk screen printing is a metal or wooden frame
with a fine mesh fabric stretched over the top. Traditionally, this
mesh was crafted from silk thread, but nowadays this has been
superseded by polyester fabrics, which offer the same performance
for a lower price. The thickness and thread count of the mesh can
be chosen to suit the texture of the surface or fabric being printed,
with smaller spaces between threads allowing for greater detail in
the print. Once the screen has been coated in emulsion and
exposed, it is ready t o be used as a stencil. After the screen
printing process has finished, it can be washed and re-used.

The squeegee
A squeegee is a rubber blade attached to a long wooden, metal or
plastic handle. It’s used to push the ink through the mesh screen and
onto t he surface being printed. The printer will usually pick a
squeegee that is a similar size to the frame of the screen, as this will
give better coverage. A firmer rubber blade is better for printing
intricate designs with lots of detail, as it ensures all the nooks in the
stencil receive an even layer of ink. A softer, more yielding rubber
squeegee is often used when printing less detailed designs, or when
printing onto fabric.
TRAY AND TROLLEY FOR SCREEN FRAME
A screen drying rack is a great way to store screens during the
screen printing process. Screen drying racks are used not only
to dry screens in a darkroom but also to store screens in
production areas and to transport screens from the darkroom to
production.
This unique rack holds 20 20" x 24" OR 23" x 31" screens.
The slot spacing is also deep enough to hold thicker roller
frame bars which many other screen racks cannot.
The washing station
The screens need to be washed to remove all traces of emulsion
after use, so they can be reused again for future prints. Some
larger print works may use large tubs of special cleaning fluid or
acid to remove the emulsion, while other printers simply use a
water trough or sink to clean their screens.

Will screen printing ink wash out?


If a garment has been properly screen printed by a trained
Professional using a heat-treated washable ink, then the design
shouldn’t wash out. To ensure a colour fast finish, the printer
needs to make sure that the ink is set according to the
manufacturer's guidelines. The correct drying temperature and
time vary depending on the type of ink and the fabric used, so
the printer needs to follow the instructions to the letter if they
want to create a long-lasting, washable item.
BLOCK
PRINTING
BLOCK
PRINTING
 Hand Block Printing on textiles refers to the technique by which
carved wooden blocks covered with dye are repeatedly pressed along a
length of cloth to create patterns. The beginnings of the art of
ornamenting textile fabrics by the stamping or printing on of colored
designs are lost in antiquity.

FEATURES
 It yields very low production.
 The cost of set-up is very less.
 Very skilled personnel is required to do such printing.
 The variety of designs is dictated by the skill of the wood worker who
carves those designs.
 Cost of making design is very less.
BLOCK PRINTING
PROCESS
Step 1: First, the fabric to be printed is washed free of starch
(size material) and soft bleached. If dyeing is required (as in
the case of saris where borders or the body is dyed) it is done
before printing. The fabric is again washed to remove excess
dye and dried thoroughly.

Step 2: The fabric is stretched over the printing table and


fastened with small pins. This is an important stage as there
should be a uniform tension in the fabric with no ripples.

Step 3: The dyes or the pigments to be used are kept


ready for application
BLOCK PRINTING
PROCESS
Step4: Under the pigment tray is another tray containing a
thick viscous liquid made from pigment binder and glue. This
gives the color tray a soft base which helps to spread color
evenly on the wooden block. Small squeeze is used to spread
the color paste over the tray.

Step 5: The printing starts from left to right. The color is evened
out in the tray with a wedge of wood and the block dipped into
the outline color (usually black or a dark color)

Step 6: When the block is applied to the fabric, it is slammed


hard with the fist on the back of the handle so that a good
impression may register. If it is a multiple color design, the second
printer dips his block in color again and prints on top of the
outline made by the first block. The third color if required follows
likewise, precisely aligning the block each time. Skill is necessary
for good printing since the colors need to dovetail into the design
to make it a composite whole
BLOCK PRINTING
PROCESS
Step 7: The fabric is sun-dried, which is part of the color-fixing
process. It is rolled in wads of newspapers to prevent the dye from
adhering to other layers and steamed in boilers constructed for the
purpose. Silks are also steamed this way after printing. After
steaming, the material is washed thoroughly in large quantities of
water and dried in the sun, after which it is finished by ironing out
single layers, which fix the color permanently.
MAKING OF DYE PASTE AND
COLOR TRAY
Step 1: For making the color tray very first dye paste is prepared by
mixing thickener, binder and dye. The dye paste should not be very
thick (disadvantage: dye will not give even printing) or watery
(disadvantage: dye paste will spread over the fabric).
Step 2: Now the tray (palia) is taken which is made of wood, generally
the size of tray is 7 inches in breadth and 10inches in length and 2
inches deep but sometimes sizes can be varies according to size of
block. Now, the dye paste is transferred to the tray (palia) from the
bucket.
Step 3: After that put a net like square frame made of bamboo sticks
called “THARTHARI” (bamboo sticks are tied with nylon thread in
form of net)
Step 4: Level of the color will be equal to the level of tharthari on color
tray.
Step 5: On the top of the jute fabric, mulmul fabric is kept and above
mulmul, georgette fabric is kept, if we want design with les intricacy. If
the block is more intricate, then above the jute fabric, georgette fabric is
kept and above georgette, mulmul is kept.
BLOCK PRINTING
TABLE
• The table is generally 4 ft wide and 15 ft long on which
jute fabric called “Tat” is placed.
• Over the tat, blanket is placed.
• And on top of it, 2-3 layers of cotton fabric is placed.
• Above it, the fabric to be printed is kept.
• Then printing is carried out manually.
BATIK
PRINTING
It is a resist dyeing process in which the designs are made with wax on the fabric
which is subsequently immersed in the dye to absorb the colour on the unwaxed
portions is known as “batik dyeing”.

It is a process of using melted wax as a resist on fabric. The wax may be painted
on a white or coloured fabric using a canting or brush or it may be stamped onto
the fabric using a copper stamp dipped in melted wax. The fabric is then dyed, and
the areas that have been waxed will not be penetrable by the dye.
THE MAIN MATERIALS AND
TOOLS REQUIRED FOR BATIK
 Fabrics
 Wax
 Binder resin
 A metal bowl(metal pot)
 Tools
 Colors

 Fabric is an essential batik material. Fabrics made from natural fibres are often use for this
purpose. The dye is easily absorbed into these fabrics. Cotton, Silk, Linen, and Wool are
mainly used as fibres.
 Several types of wax are used for batiks. Of these, Beeswax and Paraffin wax are the most
commonly used.
 Rosin is brittle at room temperature but it melts at high temperatures. Binder resin also a
material used in making wax mixture. This melts when it melts and acts as a binder to the
wax mixture.
 Metal pot is used to melt the wax. we can even use an electric frying pan for this. This
process should be done very carefully, and the wax should be overheated as it may cause a
fire.
CANTING
TOOLS
Batik
pens
Batik Pen melts candles, crayons, batik wax, and paraffin to form a
controlled thin or thin line. When the tool is placing at an angle, there are no
drops of melted wax. Its heats up quickly and maintains an even more
melting temperature.

Tjanting
Tool
Tjanting (or canting) is a beautiful Javanese tool for applying wax
to fabrics when making batik. They have a long handle and a
copper or brass pot that holds out molten wax. Tjantings can tricky
to use at first. It is a small cup-shaped tool with a handle set at right
angles to the foot on one side and a nice spiral arrangement on the
other.
Brushes for
Batiks
Most batikers are unable to get a tan, and if they can, they prefer to brush their
wax completely. Properly cut and sized brushes will give the employee very
satisfying results. Wax brush

Melting skillet
Electric Melting skillet to melt the batik wax and keep it hot. Batik wax is
extremely flammable and should not be heated directly on a stove. we can
insulate a regular pot in an inch of water in a larger pot. To remove the batik
wax, you will also need a large pot or cauldron in which your calico fabric
will easily fit.
LINOLEUM BLOCK
PRINT
 Linoleum block print, is a printmaking technique, a variant of woodcut in
which a sheet of linoleum (sometimes mounted on a wooden block) is used
for a relief surface. A design is cut into the linoleum surface with a sharp
knife, V-shaped chisel or gouge, with the raised (uncarved) areas
representing a reversal (mirror image) of the parts to show printed.

 linoleum block print is a type of relief print where we carve into a block of
linoleum and take a print from the inked surface of the block.
PROCESS OF PRINTMAKING USING
LINOLEUM BLOCK
STEP - MATERIALS AND TOOLS REQUIRED
1
• Pen, marker, pencil,
colored pencil
• Linoleum block
• Paper
• Transfer paper
• Bench hook
• Lino Handle/lino cutters
• Printer’s ink (Oil Based)
• Brayer (ink roller)
• Tape
• Scissors
• Electric blanket and towel
• Spoon (or a Baren)
• Glass surface (plate or
baking pan will do)
STEP - DRAW A DESIGN
2
Draw out our design. Be sure to make the drawing the same size as our
linoleum block, so that we don’t have to mess with resizing the picture and
printing it before you begin to transfer.

STEP - TRANSFERRING ONTO THE LINOLEUM


BLOCK
3

To be sure that the transfer paper does not slip, take the transfer paper and
tape it to the linoleum block. Be sure to cover the entire block with transfer
paper, if we don’t, some of your design will not transfer to the block.
STEP - 4 CARVING THE LINOLEUM BLOCK

 To secure the block so that it does not slip or slide, use a bench hook
 Start by using a V shaped tool, a smaller, fine tipped tool
 To remove more of the linoleum for bigger lines or larger areas of block, use a U
shaped tool, much like the V shaped tool, but the blade is a bit wider and flatter.
Use a flat chisel to remove large amounts of linoleum.

STEP - 5 PRINTING
To print we will need:
• Printer’s Ink (NOTE: Oil ink is permanent, so be sure to wear clothes
you don’t mind getting dirty and consider wearing rubber gloves to
keep your hands clean.)• Carved block • Ink roller (brayer)
• Smooth surface (glass plate or glass baking pan)• Paper • Spoon
WOODEN BLOCK PRINTING

 Woodblock Printing as a technique for printing text, images, or


patterns on textiles.
 Wood block printing on textiles is the process of printing patterns on
textiles, usually of linen, cotton or silk, by means of incised wooden
blocks.
 It is the earliest, simplest and slowest of all methods of textile
printing.
PROCESS OF
MAKING
WOODEN BLOCK
STEP - 1 MATERIAL AND TOOLS REQUIRED

 Wood
 A drawing to cut from and a pencil
 A "graver" or chisel for cutting
 ink
 A piece of glass for spreading ink onto
 A roller for rolling out the ink on the glass and applying it to the wood
 paper to print onto
 A spoon (or equivalent) to rub down the print onto the paper

STEP - 2 DRAWING OF IMAGE

 When sketching we tend to jump between larger, more


detailed images and small, 'to scale' ones.
 We can flip it horizontally for copying onto the block,
since we know that once it's printed we'll get back the
orientation that we originally intended.
STEP - CUTTING OF THE WOODEN BLOCK
3

 Put the handle of the graver in the palm of our hand and wrap our fingers around the
blade so the point feels like an extension of our index finger.
 We Keep our hand in a fairly fixed position. When it comes to cutting we'll just move
it forward and backward as we need to, and move the wood beneath it with the other
hand to line up the cut.

STEP - INK AND PRINT THE BLOCK


4 The first part of the process involves laying out

a layer of ink on our piece of glass.
 We roll the roller along the length of the block
first, then do it across the width.

STEP - FIX RECUT AND RE-INK


5 Then we carve the wooden block where the
white line are shown.
METAL BLOCK PRINTING

 Printing blocks are normally made of wood, metal or a combination


(such as having a wooden base with metal nails or bands hammered into
its surface). A design is drawn onto the block surface. It is either
engraved (sunk design) or the area around the design is carved away
(raised design).
 Fine details are very difficult to cut in wood, and, even when
successfully cut, wear down very rapidly or break off in printing.
 They are therefore almost invariably built up in strips of brass or copper,
bent to shape and driven edgewise into the flat surface of the block.
PROCESS FOR MAKING
METAL BLOCK
This method is known as coppering, and by its means many delicate little forms,
such as stars, rosettes and fine spots can be printed, which would otherwise be
quite impossible to produce by hand or machine block printing.
 The process of coppering is used for the purpose of making
a mold, from which an entire block can be made and
duplicated as often as desired, by casting.
 The metal strips are driven to a predetermined depth into the
face of a piece of lime-wood cut across the grain.
 when the whole design is completed in this way, the block is
placed, metal face downwards in a tray of molten type-metal
or solder
 which transmits sufficient heat to the inserted portions of the
strips of copper to enable them to carbonize the wood
immediately in contact with them.
 When cold a slight tap with a hammer on the back of the
limewood block easily detaches the cake of the type-metal
or alloy
 The strips of copper to which it is firmly soldered, leaving a matrix, or
mold, in wood of the original design.
 The casting is made in an alloy of low melting-point, anti, after cooling, is
filed or ground until all its projections are of the same height and
perfectly smooth.
 After which it is screwed onto a wooden support and is ready for printing.
 Similar molds are also made by burning out the lines of the pattern with a
red-hot steel punch, capable of being raised or lowered at will, and under
which the block is moved about by hand along the lines of the pattern.
NAIL BLOCKS
 To create it, first we take a wood according to our
design or pattern.
 Then with chisel it is made flat and smooth to make the
surface even.
 At last , we have take nails and directly hammer it into
the wood to make the design or pattern.

COPPER TINTED BLOCKS


 Copper blocks were developed which were totally made up of metal strips placed into
wooden base.
 To make the blocks ,at first the design was traced onto wooden base and the design outline
was cut away to a depth of 1/4th of an inch.
 After this the metal stripes were hammered into the groove.
 This enables very fine line designs to be printed on the fabrics.
REFERENCES
 http://www.google.com/culturalinstitute/exhibit/past-continuous-block-printing-on-textiles-in-india
 https://craftatlas.co/crafts/block-printing
 https://www.wikihow.com/Do-Screen-Printing-on-Fabric#Steps
 http://www.handprintingguiderajasthan.in/hand-block-printing-the-block-and-the-printing-unit/physica
l-infrastructure/#:~:text=Physical%20infrastructure%20It%20is%20very%20common%20to%20have,t
o%20industrial%20areas%20in%20most%20parts%20of%20India
 http://www.dsource.in/resource/batik-printing-ujjain-madhya-pradesh/tools-and-raw-materials
 https://batikinstitute.com/batik-tools-and-materials/
 https://www.instructables.com/Linoleum-Block-Printing-1/#:~:text=Linoleum%20Block%20Printing%
201%20The%20Tools%20of%20the,Block.%20...%205%20Printing.%20...%206%20Conclusion.%20
 https://sewguide.com/fabric-block-printing-diy-guide/
 https://www.johnsteins.com/woodblock-printing.html/
 https://www.expat.or.id/info/batik.html
 https://www.screenprinting.com/collections/screen-racks-and-carts/products/aluminum-screen-frame-r
ack-with-20-slots
 https://www.unnatisilks.com/block-printing-preparing-blocks-1-indian-crafts.html

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