{"id":173,"date":"2019-02-02T17:26:59","date_gmt":"2019-02-02T17:26:59","guid":{"rendered":"https:\/\/dns-iran.com\/?page_id=173"},"modified":"2019-03-11T20:24:43","modified_gmt":"2019-03-11T20:24:43","slug":"screen-printing","status":"publish","type":"page","link":"https:\/\/dns-iran.com\/index.php\/screen-printing\/","title":{"rendered":"Screen printing"},"content":{"rendered":"\n

What is a Serigraph?<\/h4>\n\n\n\n
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in DNS-IRAN Definition Silkcreen Printing, also goes by the term: Serigraph. The Word Serigraph is a combination of two Greek words, seicos<\/em>, meaning silk, and graphos<\/em>, meaning writing. Silkscreen Printing and other stencil-based printing methods are the oldest forms of printmaking. Printmaking is a process for producing editions (multiple originals) of artwork. Painting, on the other hand, is a process for producing a single original piece of artwork. In printmaking, each print in an edition is considered an original work of art, not a copy.<\/p>\n\n\n\n

Silkscreen \nPrinting is a stenciling method that involves printing ink through \nstencils that are supported by a porous fabric mesh stretched across a \nframe called a screen. Silkscreen Printing is ideally suited for bold \nand graphic designs.<\/p>\n\n\n\n

Silkscreen Printing can be traced as far \nback as 9000 BC, when stencils were used to decorate Egyptian tombs and \nGreek mosaics. From 221-618 AD stencils were used in China for \nproduction of images of Buddha. Japanese artists turned screen printing \ninto a complex art by developing an intricate process wherein a piece of\n silk was stretched across a frame to serve as the carrier of hand cut \nstencils.<\/p>\n\n\n\n

Silkscreen printing found its way to the west in the 15th century. The original material used in screen printing was silk. 
Hence the name Silkscreen printing. Today polyester is the fabric of choice.<\/p>\n\n\n\n

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How is it done?
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The \nbasic printing process is the forcing of ink through a stencil onto \npaper with a squeegee. This is called “pulling” Each color must be \nprinted in the same place and in the same order for each print to \nresemble the original.<\/p>\n\n\n\n

An original image is the first step in the process. Then the screen printer uses his knowledge of and preferences for color to develop a separate stencil for each color.  Each stencil is then adhered to its own screen.  <\/p>\n\n\n\n

Inks are custom mixed by the artist and matched to colors of the original and desired outcome of hue and value. In my prints, the number of colors on a silkscreen print varies: usually there are at least six different colors, but there may be up to 40 colors on a single image.<\/p>\n\n\n\n

The screen printer pulls ink across the printing\n frame, which has been placed above a sheet of paper that will hold the \nart work. The ink is then forced through the screen and onto the paper \nbelow. This process is repeated on all sheets of the edition, and then \nthe stencil is destroyed.<\/p>\n\n\n\n

Editions, Signed and Numbered
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\nThe \nprinting process is very labor intensive; from the creation of designs, \nto transfer to the screen, mixing of colors, and printing of an edition.\n Typically a silkscreen printer allows 10% more of what he wants for an \nedition size to account for images rejected due to errors in printing. \nIn my printing, large prints can take 3-4 months to complete while a \nsmall print can be finished in as little as one month.<\/p>\n\n\n\n

A silkscreen\n printer usually makes a limited edition of his designs. An edition of a\n fine art print includes all images published at the same time. Editions\n of silkscreens range from 1 to 500 prints. Edition size can be \ndetermined by the printing process itself, as when a stencil wears out, \nbut usually the edition is limited by the artist. Since the stencils are\n destroyed after printing, each edition is unique.<\/p>\n\n\n\n

Prints are \nsigned and numbered in the bottom margin of the print with what looks \nlike a fraction. The upper number represents the impression within the \nseries and the lower number indicates the edition size. A print marked \n2\/25 is the second of twenty-five images. The number indicates the order\n in which prints were signed<\/em>, not necessarily the order in \nwhich the impressions were pulled. This, plus the fact that later \nimpressions are sometimes superior to earlier pulls, means that lower \nnumbers do not generally indicate better quality impressions.<\/p>\n\n\n\n

What is the difference between an original fine art print and a reproduction?
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A fine art print<\/strong> is\n a \"multiple original\" made by hand, one impression at a time, from a \nplate (usually wood, copper, zinc or in this case  amberlith film) \netched or carved by the artist. With original fine art prints, the \ntactile quality of the ink on paper and the printing style, are \ninseparable parts of the artwork; something you cannot achieve with \nreproductions.<\/pre>\n\n\n\n
A \ufeffreproduction\ufeff<\/strong> is\n a copy of an already existing work. It is just a photo-mechanically \nreproduced image, often scanned and then mechanically printed en-masse. \nThere is no intervention of the artist. Reproductions are in essence \nposters, often called iris<\/strong> or giclee prints<\/strong>,\n and have little or no monetary value. The inks used fade when exposed \nto the sun and the paper is not always 100% cotton and acid free, which \nmeans that it will easily degrade and yellow.
Despite good quality \nprinters and up-to-date technology used to produce giclees or iris \nprints, the result cannot compare to fine art prints. 
Additionally, \nreproductions are printed by the thousands, and there is no physical \nlimit to the number of impressions, as the matrix does not wear down. \nHowever, just to support a price desired by the publisher, edition size \nis artificially limited in order to create scarcity and therefore \nincrease the value of the print, which is even made to sign and number \nby the artist thus creating confusion as to authenticity.\n\n<\/p>\n\n\n\n