screens for sim process?

[ericheartsu]

What mesh counts are you all using for sim process, or even just straight spot colors over a base?

We've been using 225, 280, 305, and 330s, but as we start to move away from rollers, I need to either keep these meshes in stock as rollers or statics!

I'd love to hear what you all are you using for your high detailed images!

[AntonySharples]

280/35 thin thread, 65 lpi for all process work and top colors.
180/45 or 280/35 for underbases.

[Colin]

Currently using Sure Loc Frames and Murakami Panels:

225S for base plates

270 or 330 mesh for top colors

Usually run 60 lpi.

[ZooCity]

About the same, the 330 sees the most sim/process action.  55lpi for most everything, certain art I bump up to 60lpi.

We stock yardage of all our mesh counts.

[LoneWolf2]

156/230 s-mesh for bases, 305 s-mesh for top colors

[UltraSeps]

For sim process, back in my printing days, I was a big fan of 280 mesh.  I'd normally run 280 for all top colors.  When printing black ink on black tees, which I always did, I'd run the black on 330 and 305 for other darks.

Base white 195, 156 or 230 depending on the job.

Inks and mesh have advanced however since I stopped printing about 8 years ago.

[DannyGruninger]

Base plates - 225/40 or 280/35


top colors - 280/40, 280/35

[prathap]

280/35  Base
180/45 or 280/35 for underbases.

[blue moon]

225/40 ubase and 330/30 top colors.
we often ubase with 330. . .

pierre

[Sbrem]

230 base, 280 - 305 top, with the occasion 355 for a black printer... 50 line


Steve

[Screen Dan]

Almost everything we do is sim. process or spot+sim. process, 55lpi...sometimes 60lpi (for that I'll use a 150/48 and 225/40 that we keep around loose and stretch as needed...which is extremely rarely).

180/48 - underbase (150/48 for extreme circumstances that never really come up)
225/48 - colors (300/34 for extreme circumstances that very rarely come up)

We used to keep over 160 different meshes in circulation...after linearizing the RIP the need to keep much else on hand disappeared.  Simplifying our mesh counts down to pretty much two (base and colors) virtually multiplied my screen inventory.  97% of everything works with this setup with very rarely a need to use any of the extreme-circumstances screens.

We also keep a dozen or so sfx screens around ranging from 17 to 80 mesh with high-solids emulsion (Aquasol HS) for glitter, HD, stacking, building up, etc.

[ZooCity]

Almost everything we do is sim. process or spot+sim. process, 55lpi...sometimes 60lpi (for that I'll use a 150/48 and 225/40 that we keep around loose and stretch as needed...which is extremely rarely).

180/48 - underbase (150/48 for extreme circumstances that never really come up)
225/48 - colors (300/34 for extreme circumstances that very rarely come up)

We used to keep over 160 different meshes in circulation...after linearizing the RIP the need to keep much else on hand disappeared.  Simplifying our mesh counts down to pretty much two (base and colors) virtually multiplied my screen inventory.  97% of everything works with this setup with very rarely a need to use any of the extreme-circumstances screens.

We also keep a dozen or so sfx screens around ranging from 17 to 80 mesh with high-solids emulsion (Aquasol HS) for glitter, HD, stacking, building up, etc.

Hey Dan, curious on the choice of 180/48 over 150/48.  We employ both but the 180 is really there for the plastisol jobs that need better "snap off" since they run at a higher ten.

I love, love, love simplifying mesh count selection, it eases so many parts of the process form pre-press to screen to production, purchasing and onward.

Also, are you linearized per mesh count?  i.e., the CTS has one curve for 55lpi on 180 mesh, another for 55lpi on 225?  sounds ingenious or maybe problematic, I can't tell which, but it's intriguing.

[AntonySharples]

Almost everything we do is sim. process or spot+sim. process, 55lpi...sometimes 60lpi (for that I'll use a 150/48 and 225/40 that we keep around loose and stretch as needed...which is extremely rarely).

180/48 - underbase (150/48 for extreme circumstances that never really come up)
225/48 - colors (300/34 for extreme circumstances that very rarely come up)

We used to keep over 160 different meshes in circulation...after linearizing the RIP the need to keep much else on hand disappeared.  Simplifying our mesh counts down to pretty much two (base and colors) virtually multiplied my screen inventory.  97% of everything works with this setup with very rarely a need to use any of the extreme-circumstances screens.

We also keep a dozen or so sfx screens around ranging from 17 to 80 mesh with high-solids emulsion (Aquasol HS) for glitter, HD, stacking, building up, etc.

Hey Dan, curious on the choice of 180/48 over 150/48.  We employ both but the 180 is really there for the plastisol jobs that need better "snap off" since they run at a higher ten.

I love, love, love simplifying mesh count selection, it eases so many parts of the process form pre-press to screen to production, purchasing and onward.

Also, are you linearized per mesh count?  i.e., the CTS has one curve for 55lpi on 180 mesh, another for 55lpi on 225?  sounds ingenious or maybe problematic, I can't tell which, but it's intriguing.

We only use 150/45,180/45,280/35 and just a couple special screens.  It simplifies stuff so much.  We do 95% process work, so it makes our lives so much easier.

[ZooCity]

Does anyone running such a beautifully simple mesh selection also do WB/DC and HSA?   

I can't see giving up some of our star performers for specific inks here.

[JBLUE]

Does anyone running such a beautifully simple mesh selection also do WB/DC and HSA?   

I can't see giving up some of our star performers for specific inks here.

Yes. Its a horrible rumor that has been spread that you have to run discharge on low mesh counts.