5 key factors to achieve a great spot white print with plastisol

[Wildcard]

There are so many possible variations and differing ideas in screen printing that it can be tricky to decide on a particular approach. No topic seems more varied than how to print white ink on darks...
I would like to hear a collective version of the 5 key factors to achieve a great spot white print with plastisol. By 'spot white' I'm thinking of a plain logo, text, or similar that has a clean, smooth, bright white finish. I think a collection of short answers over a wide spread of users would give a cool overview of what works in different shops.
 Are you using an auto or manual? 1,2 or 3 screens? Mesh and stencil? Stroke speeds/angles/pressure? Modified inks?
What would be your top 5 factors to nail down that perfect retail quality white logo?

[mooseman]

good luck

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mooseman

[Northland]

#1 (for my operation) is S mesh. PFP using a 180 or 225 gives good opacity with a relatively soft hand.

[Homer]

From what I have seen at JC Penny and Macy's, "retail" is not something I would call a perfect white...or a decent print for that matter.... More like the quality control guy fell asleep....


best white we can get is 2 screens with a flash and a roller screen after the flash...inks don't really matter, they all print fine, you just have to learn how to use them for their intended purpose and make adjustments.

[Printficient]

2 Screens. 2 Inks. 2 Squeegees
196 Mesh and 230 Mesh
Wilflex Russell Grey Any White (Just about)
70 Duro Double Bevel and 80 Duro Double bevel

[ericheartsu]

166 mesh (around there)
Discharge White (we like CCI d-white, others like rutland)

sorry just saw that it says plastisol

[abchung]

1. Good exposure light to get good EOM. A light that can penetrate the whole screen effectively.

[Screened Gear]

1. Mix: Ink must be mixed or worked so that ink is fluid. This means a large scoop will not stay on a vertical goop scoop. Adding heat also will get you to this fluid state with less mixing.

2. Print must 100% clear the screen on first layer of white.  If it takes one or two passes does not matter. It has to clear the screen before it is flashed.

3 flash

4 Repeat repeat 2 after a 100 percent non sticky dry flash.

5. Don't use EOM, special squeegees, special screens or other equipment as the answer to make your print acceptable. You can make a great white print with a wood screen with crap mesh and no eom. Learn your press with what you have. Then if you need to or what to: add EOM, special squeegees, special screens or other equipment. You will get better results.

[IntegrityShirts]

Yup, about 2 rules around here.

• Creamy white ink
• 150S mesh print/flash/print with whatever squeegee it takes to clear with one stroke

If it doesn't clear with one stroke see step 1.

[jvanick]

Yup, about 2 rules around here.

• Creamy white ink
• 150S mesh print/flash/print with whatever squeegee it takes to clear with one stroke

If it doesn't clear with one stroke see step 1.

same here for us.

we've tried to use 180S and 225S, and are never happy with the coverage for a pfp type of print... once we go to the 150S, we are perfect...

OneStroke Hybrid White is our choice for 'creamy' white ink... when we have to run plastisol, that's what we choose.

[3Deep]

Another thing to consider is a good garment, I've printed white ink that was very smooth on some shirts and terrible on other's same print run.
#1  sharp blades
#2  Tight screens
#3  good EOM
#4  well stirred ink
#5  and good understanding of what to expect

[mimosatexas]

My "key factors" mirror what most people have said:

S mesh (135S, 150S, or 180S depending on the art and material being printed)
Ink that is well mixed and warmed
Pallets that are pre-warmed

I find the S mesh and being able to clear the mesh in one pass easily is by far the most important specific thing for me.  I cannot get as smooth, soft, and opaque a white with a standard 110/160/etc mesh.  I have printed well using a lot of different whites as long as you stir well and warm the ink a bit (but not every white, some just blow at matte down or clearing screens no matter what you do).  I refuse to modify a white ink when you can just buy a better white, and there are so many options out there.  I have used a few different squeegees, and while i prefer a quick, light push stroke (manual printer here) with a triple duro blade, I have gotten fine results with standard 70 duro and a pull stroke.

[Sbrem]

4XX mesh, bullet nosed squeegee.  Or what the other guys said... we like 180 first, 230 second.

Steve

[MrBreeze]

    ANSWER Circa 1978...Thin white ink with mineral spirits, use 8xx mesh, 10xx for fine detail. Use a rounded squeegee blade. Print on a platen covered with a thin layer of foam padding covered with naugahyde.   Don't worry about the stencil thickness 'cause you're using the green hand cut film applied with lacquer and you have no control.  Merry Christmas to all you other old timers than remember what it was like when dinosaurs walked the earth.

[Wildcard]

Interestingly I have seen it recommended to use finer mesh on the underbase, with coarser as the top white (presumably for flash speed), but also seen the opposite recommended as a better approach for matt down in the underbase and a smoother finish on the top coat.
S mesh doesn't seem to have much support here in Aus so I'm assuming that a 150S is about the same as a 120 in a regular T mesh (in terms of clearing ink that is)