mungkin penjelasan disini akan berbeda dari buku atau katalog2 lainnya yg sudah pernah kalian beli. mungkin gw lebih fokus ke praktis. dan gw akan bantu semaksimal mungkin. jika kamu sudah pernah membaca? melihat? ataupun ngintip dikit2 proses produksi, lupakan dulu itu semua untuk sementara. bersihkan sementara. takutnya kamu malahan akan terjebak pada lingkaran kebingungan.
simak pertahap. dengan cermat. insyaAlloh.. kamu bakalan bisa deh..
gw coba sepraktis mungkin dan semudah mungkin dalam mengarahkan proses belajar.
tapi gw bukan seorang penulis. jadi harap maklum jika tulisanya kacaw!
andaikan kamu berhasil menguasai ilmu ini, dan bermanfaat saya ucapkan SELAMAT DATANG didunia bisnis sablon
andaikan gagal, yg penting anda mengetahui prosesnya.. dan pasti kelak bermanfaat.
OKheY... langsung aja ya... ikutin aja pertahapnya sob.. (fotonya menyusul ya..)
lagi males potrat-potret nehh... kalo bingung tanyain kesini aja.. edit terkadang agak lama
harap maklum. TS juga punya kesibukan yg lumayan.. gw bela-belain gak tidur neh..
selengkapnya bisa kamu kunjungin link
http://kaskus.us/showthread.php?t=816984
Tuesday, April 29, 2008
Thursday, March 27, 2008
kain kombet dan kardet
COMBET
kainnya cenderung lebih halus dari Cardet. pada jenis Mz kainnya agak berbulu.
CARDET
kain ini diraba dari belakang semakin tersasa kasarnya, sering dikategorikan sebagai jenis kain kualitas 2.. Hmmm apa iya ya..? tapi ternyata kalo kita amati kain2 dari kaos luar mereka memakai kain jenis cardet ini! WOW! dan ketika saya dapat pesanan kaos dari luar bisayanya mereka minta kain cardet. emang kalo cardet habis dicuci nyusutnya lumayan banyak. makanya sebelum proses finising, atau sebelum potong... kain ini di "washing" terlebih dahulu untuk menghabiskan susutnya. sebab jika dibandingin kaos yg udah lama antara katun combet dan cardet lebih nyaman pake cardet.nah jenis cardet yg dipakai produk2 luar negeri, biasanya disebut cardet super. yg gw tau.. yang punya kain kain ini Sarirajut Surabaya.di Bali, disekitar jl. imam bonjol juga ada namanya Timur Jaya.
kainnya cenderung lebih halus dari Cardet. pada jenis Mz kainnya agak berbulu.
CARDET
kain ini diraba dari belakang semakin tersasa kasarnya, sering dikategorikan sebagai jenis kain kualitas 2.. Hmmm apa iya ya..? tapi ternyata kalo kita amati kain2 dari kaos luar mereka memakai kain jenis cardet ini! WOW! dan ketika saya dapat pesanan kaos dari luar bisayanya mereka minta kain cardet. emang kalo cardet habis dicuci nyusutnya lumayan banyak. makanya sebelum proses finising, atau sebelum potong... kain ini di "washing" terlebih dahulu untuk menghabiskan susutnya. sebab jika dibandingin kaos yg udah lama antara katun combet dan cardet lebih nyaman pake cardet.nah jenis cardet yg dipakai produk2 luar negeri, biasanya disebut cardet super. yg gw tau.. yang punya kain kain ini Sarirajut Surabaya.di Bali, disekitar jl. imam bonjol juga ada namanya Timur Jaya.
Wednesday, March 26, 2008
Jenis Kain Katun untuk Kaos
katun merupakan sebutan untuk kain yang terbuat dari material kapas..nah! jenis-nya pun bermacam-macam.(tapi nanti saya spesifikasikan saja)seperti : doublenit (luar dalam sama, ... lihat point2, pada point 2 disebut singgle nit), katun singglenit, spandex, dllnah! kita bedah dulu, jenis katun kaos yg paling pas untuk pasaran dikaskus dg harga "segitu" katun ini terbagi dua jenis,
katun Non Mz
jenisnya lembut.. kain ini banyak beredar di bandung, maka sering disebut "kain bandung euy.." biasanya yang paling banyak dipakai dari toko mulia lestari deket BIP depan Hyatt sebelah distro airplane..nah ada gang kecil disebut jalan kenari. teruss aja sebelum bengkel sebelah kanan. makanya dikaskus sering disebut kain kenari.. tapi busyett harganya cukup mahal bro!kalo dapet kain ini agak keras.. tenang aja.. ntar lembut kok..ada juga yg ngambil di musdalifah colection, teruss..kain dari kota indah juga kayaknya banyak beredar neh dikaskus, dan deretannya disepanjang jl. otista hingga toko kain delapan. dll deh.. males neh ngetiknya..kain2 ini dijogja jg lagi tren.. seperti Mck, indotama(morrisland), mitratex(nih kain yg invasi kejogja dr bandung.. Hmm masih baru jg umurnya udah sebulan blm ya?, Hikmah (HM)..Rodhi.
katun Mz
kain ini bukannya jelek. semua brgantung selera. kain jenis ini penampakannya keras dan kaku (bukan kaku banget tapiiee..) dan terlihat lebih teball..kalo dipake, kain ini cenderung nggak jatuh kebadan. pemakai tampak lebih elegan.cuman kurang nyaman kalie ya.. nah kalo pas tiduran dilantai kain ini menyerap debu. seperti contohnya kalo kamu masih kecil suka mainan penggaris/mistar plastik lalu digosok2kan ketangan/kerambut hingga hangat, lalu bisa SULAPAN kertas kecil2 bisa nempel pd mistar tersebut.nah.. kurang lebih begitchu..
nah dari 2 jenis tersebut diatas. Mz maupun Non Mz masing2 punya 2(dua) jenis lagi.. yang disebutCOMBET dan CARDET kayaknya kalo yg ini udah pada akrab neh di telinga..
katun Non Mz
jenisnya lembut.. kain ini banyak beredar di bandung, maka sering disebut "kain bandung euy.." biasanya yang paling banyak dipakai dari toko mulia lestari deket BIP depan Hyatt sebelah distro airplane..nah ada gang kecil disebut jalan kenari. teruss aja sebelum bengkel sebelah kanan. makanya dikaskus sering disebut kain kenari.. tapi busyett harganya cukup mahal bro!kalo dapet kain ini agak keras.. tenang aja.. ntar lembut kok..ada juga yg ngambil di musdalifah colection, teruss..kain dari kota indah juga kayaknya banyak beredar neh dikaskus, dan deretannya disepanjang jl. otista hingga toko kain delapan. dll deh.. males neh ngetiknya..kain2 ini dijogja jg lagi tren.. seperti Mck, indotama(morrisland), mitratex(nih kain yg invasi kejogja dr bandung.. Hmm masih baru jg umurnya udah sebulan blm ya?, Hikmah (HM)..Rodhi.
katun Mz
kain ini bukannya jelek. semua brgantung selera. kain jenis ini penampakannya keras dan kaku (bukan kaku banget tapiiee..) dan terlihat lebih teball..kalo dipake, kain ini cenderung nggak jatuh kebadan. pemakai tampak lebih elegan.cuman kurang nyaman kalie ya.. nah kalo pas tiduran dilantai kain ini menyerap debu. seperti contohnya kalo kamu masih kecil suka mainan penggaris/mistar plastik lalu digosok2kan ketangan/kerambut hingga hangat, lalu bisa SULAPAN kertas kecil2 bisa nempel pd mistar tersebut.nah.. kurang lebih begitchu..
nah dari 2 jenis tersebut diatas. Mz maupun Non Mz masing2 punya 2(dua) jenis lagi.. yang disebutCOMBET dan CARDET kayaknya kalo yg ini udah pada akrab neh di telinga..
mengenal bagian luar dan dalam kaos
ini cukup penting.. takutnya kamu dapet kain yg kebalik sablonannya.kalo yg dapet begitu produk tidak layak untuk sampai ke buyer.coba ambil kaos kamu. perhatiin baek2 deh.. kalo perlu pake kaca pembesarbagian luar akan terlihat seolaholah berupa garis2. seratnya dari atas kebawah(atau sebaliknya) bukan dari kanan kekiri (atau sebaliknya)bagian dalam akan berbentuk kotak2 dan kasar.
Menguji Kain Katun
Jelas kita sepakat gunakan katun! .... masalahnya, katun yg bagaimana?cukup panjang juga untuk menjelaskan sejarah perjalanan "mahluk" yang bernama katun ini.yang jelas produk ini dipintal dengan menggunakan kapas dan sedikit plastic/polyster. cara menguji katun ini cukup mudah. coba kamu ambil kapas dan plastik, lalu bakar 2 mahluk berbeda tersebut secara terpisah. tongkrongin ampe habis kebakar tuh dua mahluknya...lalu perhati'in baek2. nah mereka berdua sama-sama meninggalkan bangkai.Namun berbeda. kapas bangkainya lembut bisa ditiup kalo plastic keras!
begitupula saat menguji kain katun. Bakar aja.... seTON jg boleh jkakakaka..kalo bangkai mengerasnya banyak? berarti tuh kain bukan katun.syukur-syukur kaga ada bangkai kerasnya. nah! katunmu murni katun tuh...
begitupula saat menguji kain katun. Bakar aja.... seTON jg boleh jkakakaka..kalo bangkai mengerasnya banyak? berarti tuh kain bukan katun.syukur-syukur kaga ada bangkai kerasnya. nah! katunmu murni katun tuh...
Tuesday, March 18, 2008
Screen print methods
Plastisol
the most common plastisol based print used in garment decoration. Good colour opacity onto dark garments and clear graphic detail with, as the name suggests, a more plasticized texture. This print can be made softer with special additives or heavier by adding extra layers of ink.
Water Based inks
these penetrate the fabric more than the plastisol inks and create a much softer feel. Ideal for printing darker inks onto lighter coloured garments. Also useful for larger area prints where texture is important.
PVC/ Phalate Free
relatively new breed of ink and printing with the benefits of plastisol but without the two main toxic components - soft feeling print.
Discharge
used to print lighter colours onto dark background fabrics, they work by removing the dye in the garment – this means they leave a much softer texture. They are less graphic in nature than plastisol inks, and exact colours are difficult to control, but especially good for distressed and vintage prints.
Foil
is what you would imagine. A glue is printed onto the fabric and then foil is applied for a mirror finish.
Glitter/Shimmer
silver flakes are suspended in a plastisol ink to create this sparkle effect. Usually available in gold or silver but can be mixed to make most colours.
Metallic
similar to glitter, but smaller particles suspended in the ink. A glue is printed onto the fabric then a nanoscale fibers applied on it.
Expanding ink (puff)
an additive to plastisol inks which raises the print off the garment, creating a 3D feel.
Caviar beads
again a glue is printed in the shape of the design, to which small plastic beads are then applied – works well with solid block areas creating an interesting tactile surface.
Four colour process
artwork is created using dots (CMYK) which combine to create the full spectrum of colours needed for photographic prints – this means a large number of colours can be printed using only 4 screens, making the set-up costs viable. The inks are required to blend and are more translucent, meaning a compromise with vibrancy of colour.
Gloss
a clear base laid over plastisol inks to create a shiny finish.
Nylobond
a special ink additive for printing onto technical or waterproof fabrics.
the most common plastisol based print used in garment decoration. Good colour opacity onto dark garments and clear graphic detail with, as the name suggests, a more plasticized texture. This print can be made softer with special additives or heavier by adding extra layers of ink.
Water Based inks
these penetrate the fabric more than the plastisol inks and create a much softer feel. Ideal for printing darker inks onto lighter coloured garments. Also useful for larger area prints where texture is important.
PVC/ Phalate Free
relatively new breed of ink and printing with the benefits of plastisol but without the two main toxic components - soft feeling print.
Discharge
used to print lighter colours onto dark background fabrics, they work by removing the dye in the garment – this means they leave a much softer texture. They are less graphic in nature than plastisol inks, and exact colours are difficult to control, but especially good for distressed and vintage prints.
Foil
is what you would imagine. A glue is printed onto the fabric and then foil is applied for a mirror finish.
Glitter/Shimmer
silver flakes are suspended in a plastisol ink to create this sparkle effect. Usually available in gold or silver but can be mixed to make most colours.
Metallic
similar to glitter, but smaller particles suspended in the ink. A glue is printed onto the fabric then a nanoscale fibers applied on it.
Expanding ink (puff)
an additive to plastisol inks which raises the print off the garment, creating a 3D feel.
Caviar beads
again a glue is printed in the shape of the design, to which small plastic beads are then applied – works well with solid block areas creating an interesting tactile surface.
Four colour process
artwork is created using dots (CMYK) which combine to create the full spectrum of colours needed for photographic prints – this means a large number of colours can be printed using only 4 screens, making the set-up costs viable. The inks are required to blend and are more translucent, meaning a compromise with vibrancy of colour.
Gloss
a clear base laid over plastisol inks to create a shiny finish.
Nylobond
a special ink additive for printing onto technical or waterproof fabrics.
Printing technique
A screen is made of a piece of porous, finely woven fabric (originally silk, but typically made of polyester since the 1940s) stretched over a frame of aluminum or wood. Areas of the screen are blocked off with a non-permeable material to form a stencil, which is a negative of the image to be printed; that is, the open spaces are where the ink will appear.
The screen is placed atop a substrate such as papyrus or fabric. Ink is placed on top of the screen, and a fill bar (also known as a floodbar) is used to fill the mesh openings with ink. The operator begins with the fill bar at the rear of the screen and behind a reservoir of ink. The operator lifts the screen to prevent contact with the substrate and then using a slight amount of downward force pulls the fill bar to the front of the screen. This effectively fills the mesh openings with ink and moves the ink reservoir to the front of the screen. The operator then uses a squeegee (rubber blade) to move the mesh down to the substrate and pushes the squeegee to the rear of the screen. The ink that is in the mesh opening is transferred by capillary action to the substrate in a controlled and prescribed amount, i.e. the wet ink deposit is equal to the thickness of the stencil. As the squeegee moves toward the rear of the screen the tension of the mesh pulls the mesh up away from the substrate leaving the ink upon the substrate surface.
There are three types of screen printing presses. The 'flat-bed' (probably the most widely used), 'cylinder', and 'rotary'.[1]
Textile items are printed in multi-color designs using a wet on wet technique, while graphic items are allowed to dry between colors that are then printed with another screen and often in a different color.
The screen can be re-used after cleaning. However if the design is no longer needed, then the screen can be "reclaimed", that is cleared of all emulsion and used again. The reclaiming process involves removing the ink from the screen then spraying on stencil remover to remove all emulsion. Stencil removers come in the form of liquids, gels, or powders. The powdered types have to be mixed with water before use, and so can be considered to belong to the liquid category. After applying the stencil remover the emulsion must be washed out using a pressure washer.
Most screens are ready for recoating at this stage, but sometimes screens will have to undergo a further step in the reclaiming process called dehazing. This additional step removes haze or "ghost images" left behind in the screen once the emulsion has been removed. Ghost images tend to faintly outline the open areas of previous stencils, hence the name. They are the result of ink residue trapped in the mesh, often in the knuckles of the mesh, those points where threads overlap. [2]
While the public thinks of garments in conjunction with screen printing, the technique is used on tens of thousands of items, decals, clock and watch faces, and many more products. The technique has even been adapted for more advanced uses, such as laying down conductors and resistors in multi-layer circuits using thin ceramic layers as the substrate.
The screen is placed atop a substrate such as papyrus or fabric. Ink is placed on top of the screen, and a fill bar (also known as a floodbar) is used to fill the mesh openings with ink. The operator begins with the fill bar at the rear of the screen and behind a reservoir of ink. The operator lifts the screen to prevent contact with the substrate and then using a slight amount of downward force pulls the fill bar to the front of the screen. This effectively fills the mesh openings with ink and moves the ink reservoir to the front of the screen. The operator then uses a squeegee (rubber blade) to move the mesh down to the substrate and pushes the squeegee to the rear of the screen. The ink that is in the mesh opening is transferred by capillary action to the substrate in a controlled and prescribed amount, i.e. the wet ink deposit is equal to the thickness of the stencil. As the squeegee moves toward the rear of the screen the tension of the mesh pulls the mesh up away from the substrate leaving the ink upon the substrate surface.
There are three types of screen printing presses. The 'flat-bed' (probably the most widely used), 'cylinder', and 'rotary'.[1]
Textile items are printed in multi-color designs using a wet on wet technique, while graphic items are allowed to dry between colors that are then printed with another screen and often in a different color.
The screen can be re-used after cleaning. However if the design is no longer needed, then the screen can be "reclaimed", that is cleared of all emulsion and used again. The reclaiming process involves removing the ink from the screen then spraying on stencil remover to remove all emulsion. Stencil removers come in the form of liquids, gels, or powders. The powdered types have to be mixed with water before use, and so can be considered to belong to the liquid category. After applying the stencil remover the emulsion must be washed out using a pressure washer.
Most screens are ready for recoating at this stage, but sometimes screens will have to undergo a further step in the reclaiming process called dehazing. This additional step removes haze or "ghost images" left behind in the screen once the emulsion has been removed. Ghost images tend to faintly outline the open areas of previous stencils, hence the name. They are the result of ink residue trapped in the mesh, often in the knuckles of the mesh, those points where threads overlap. [2]
While the public thinks of garments in conjunction with screen printing, the technique is used on tens of thousands of items, decals, clock and watch faces, and many more products. The technique has even been adapted for more advanced uses, such as laying down conductors and resistors in multi-layer circuits using thin ceramic layers as the substrate.
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