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What is the best screen mesh size for screen printing on glass. Using Reusche stencil Black and pine oil medium.? Other thoughts on the topic?

Joseph.... It's been years since I've printed on glass, so will look up old notes. But the most important factor is that the screen has to be built up from the surface of the glass, so that the screen can snap away immediately... (since it doesn't have texture like paper, it will smear the image) I would tape squares of double strength glass under each of the corners of the screen. (You might even have to build up two layers).

I'll keep watching the post, and if you havent heard what mesh size to use, I'll dig into my ancient notes.... Marty

Joseph

I looked in my Sunshine enamel info sheet;

Screen Printing

all sunshine colors, recommended mesh is 195 - 300 mesh/ inch

cadmium colors 185 - 230 mesh/inch

purple colors 300-355 mesh/inch



Reusche may be different though


Nelson

I spoke last week with a Reusche rep on this topic. I'm not sure how important this is to the mesh size, but I did indicate I was working with their lead/cadmium free colors. The rep told me a centerpoint of 200 with a 160 - 300 range mesh size is acceptable. FYI, on that same call he advised me to mix by weight 75% powder/25% squeegee oil medium for the lead-free; 80%/20% respectively for the lead/cadmium bearing paints.

Hope this helps.

-- Cathy

Joseph, there is a mine of info on supplies & techniques for all screenprinters at http://www.screenweb.com

Thanks everyone for the feedback. I 'm having a 200 mesh screen made.
I couldn't get through to Reusche so that helped, along with the ratios. I remember needing a lot of paint but that really helps.

Joseph Tracy wrote:Thanks everyone for the feedback. I 'm having a 200 mesh screen made.
I couldn't get through to Reusche so that helped, along with the ratios. I remember needing a lot of paint but that really helps.

Joseph

When you are set up to print, you load the screen with ink by making a squeegee pull with the screen in the air, contacting nothing. Then you put the screen down contacting the glass to make your printing pull. The screen should bounce up off the glass when the pull is complete. We line the glass to be printed with glass the same thickness on both sides of the squeegee. The squeegee rides on all three pieces of glass. Do a good job softening the edges on all glass to be in contact with the screen.

This is the technique used by a friend of mine who is a pro screen printer and has lots of experience printing with stencil black. When you go to the big museums in NYC, he has printed the blurbs on the walls. That's his money job.

Thanks Bert,
The idea of loading the screen is elegant. I have screened on enough glass to have the other info, but have always struggled with not getting too much ink and the consequent smearing. I read the other thread too. Good info. Interesting that the topic came up twice independently at the same time. So when you mix waterbase paste , what do you use for medium ( water friendly, acrylic gel?)and /or do you thicken it with the paint powder?

Joseph Tracy wrote:Thanks Bert,
The idea of loading the screen is elegant. I have screened on enough glass to have the other info, but have always struggled with not getting too much ink and the consequent smearing. I read the other thread too. Good info. Interesting that the topic came up twice independently at the same time. So when you mix waterbase paste , what do you use for medium ( water friendly, acrylic gel?)and /or do you thicken it with the paint powder?

Joe

My medium of choice is Ferro #1544. It is a water friendly medium that is their slowest drying medium. I am often painting on large sheets of glass so slow is good. It could take months to dry but I just fire it right away. If I were screening multi layers, I would go with a faster drying medium.

I buy powder and mix it myself. WIth the 1544, it is mixed 50% medium by weight, which is pretty good screen ink. That can be thinned with water or alchohol for spraying or painting.

Basically alcohol speeds drying. Glycerine slows it. Water thins it. More enamel powder thickens it.