Quantity of mesh counts

[ThePrinter]

If you were going to send out 100 frames to be re-stretched, how many of each mesh count or what percentages would you order?

Example:
156 - 20
180 - 30
230 - 30
305 - 20

Also would you go white or yellow on the 156 and lower meshes?

[Frog]

I'm strictly manual, with minimal halftone work, so I'd probably be
140 - 5
156 - 40
180 - 20
200 - 20
230 - 15
And I go for yellow from 156 and up when it's available.

[Colin]

156 - 20 = 150s/48 - 30
180 - 30 = 180s/48 - 30
230 - 30 = 225s/40 - 20
305 - 20 = 270/34  - 15
330        = 330/30  - 5


http://www.murakamiscreen.com/documents/MeshGuidefromCatalogweb.pdf

I am quite fond of thin thread meshes.  Yellow thread as often as possible.

[im_mcguire]

156 - 20 = 150s/48 - 30
180 - 30 = 180s/48 - 30
230 - 30 = 225s/40 - 20
305 - 20 = 270/34  - 15
330        = 330/30  - 5


http://www.murakamiscreen.com/documents/MeshGuidefromCatalogweb.pdf

I am quite fond of thin thread meshes.  Yellow thread as often as possible.

I will mimic this exactly.  Thin thread all day long!

[Atownsend]

We are adding 80 roller frames right now. But I if was doing 100 of em....

135 / 55 = 30
150/ 48 = 25
230 / 40 = 30
280/ 34 = 15

All NBC (formerly dynamesh or vice versa). Alpha series, amber color in all counts. I haven't found a need for a count between 150 & 230. What are you guys using those 180's for? Halftone bases?

[ZooCity]

40   2
90   2
135   4
150   41
225   51
330   19

All S mesh so adjust to standard thread thickness as needed. 

Our lineup used to look more like Colin's.  Less and less plastisol and a need to consolidate and simplify brought us to here.  We do a good grip of sim pro so the 330 may be high for shops that don't.

We could essentially run on 150-225-330 if we didn't print HSA and some specialty inks.  Limiting your mesh count selection is a good move even if it does mean that some jobs don't have the absolute ideal mesh count.  I do miss the 270 Murakami for some work.

Dyed mesh on every count it's available in. 

[Colin]

We are adding 80 roller frames right now. But I if was doing 100 of em....

135 / 55 = 30
150/ 48 = 25
230 / 40 = 30
280/ 34 = 15

All NBC (formerly dynamesh or vice versa). Alpha series, amber color in all counts. I haven't found a need for a count between 150 & 230. What are you guys using those 180's for? Halftone bases?

We do a lot of 180s mesh for top colors.  We still do lots of flashing, the owner likes a very clean sharp look.  When we do need to print anything wet on wet we use the 225s.

The 150s is a beast for us for underbases.  When needed I just coat 1/2 and my eom is really thick....  Couple that up with a good shorter bodied opaque white and we are off to the races.

Roller frames, sure lock panels, murakami mesh for us but you can get Saati there as well. Minimum of 25 newtons, prefer an average of 27/28.  Takes a while to truly work harden a screen.

[brandon]

We are adding 80 roller frames right now. But I if was doing 100 of em....

135 / 55 = 30
150/ 48 = 25
230 / 40 = 30
280/ 34 = 15

All NBC (formerly dynamesh or vice versa). Alpha series, amber color in all counts. I haven't found a need for a count between 150 & 230. What are you guys using those 180's for? Halftone bases?

We do a lot of 180s mesh for top colors.  We still do lots of flashing, the owner likes a very clean sharp look.  When we do need to print anything wet on wet we use the 225s.

The 150s is a beast for us for underbases.  When needed I just coat 1/2 and my eom is really thick....  Couple that up with a good shorter bodied opaque white and we are off to the races.

Roller frames, sure lock panels, murakami mesh for us but you can get Saati there as well. Minimum of 25 newtons, prefer an average of 27/28.  Takes a while to truly work harden a screen.

If there was a "thumbs up" button this would be it. Exactly for us as well.

[ericheartsu]

is the 135/55 a yellow mesh?

We do so much HSA, that we also have alot of 80s, 110s, and 122s.

[Atownsend]

is the 135/55 a yellow mesh?

We do so much HSA, that we also have alot of 80s, 110s, and 122s.

Just got a roll of 135/55 in amber from NBC. Like the yellow but a little darker. Beta is yellow, Alpha is amber. Some atmospheric treatment on the alpha series mesh to promote ink clearance that is probably just a gimmick.... the mesh works quite well. Just as good as Murakami having used both. About $8 / yard for bolt mesh, beta series is less.

Strictly plastisol here. I just like one hit whites. Winston just put in a precision over here a month ago so that might change. Real airflow is amazing, but we have enough on our plate right now. No ink changes until we get the rest of our crap together.

We are adding 80 roller frames right now. But I if was doing 100 of em....

135 / 55 = 30
150/ 48 = 25
230 / 40 = 30
280/ 34 = 15

All NBC (formerly dynamesh or vice versa). Alpha series, amber color in all counts. I haven't found a need for a count between 150 & 230. What are you guys using those 180's for? Halftone bases?

We do a lot of 180s mesh for top colors.  We still do lots of flashing, the owner likes a very clean sharp look.  When we do need to print anything wet on wet we use the 225s.

The 150s is a beast for us for underbases.  When needed I just coat 1/2 and my eom is really thick....  Couple that up with a good shorter bodied opaque white and we are off to the races.

Roller frames, sure lock panels, murakami mesh for us but you can get Saati there as well. Minimum of 25 newtons, prefer an average of 27/28.  Takes a while to truly work harden a screen.

150/48 does get insane EOM. 1/1 is super impressive. But I think screen life leaves a bit to be desired, for us at least. Increasing the overall number of screens we cycle may help. We have more super glue and mesh patches than I'd like to admit with those 150s. Planning on using 150's for halftone bases, 135's for spot color bases this year. Its nice being able to get decent halftones with those, however we mostly do spot color and want to get more one hit whites and want a little bit more durability.

For us we retension everything that hits 20, We usually see issues pop up below that, so that has been our threshold. Usually aim for 26-28 for the 150s. 30N seems to kill our 150's overnight. From what I can tell it takes our screens 2-3 retens before it really looses all of its give and really becomes work hardened.

230/40 can leave a bit to be desired on a base as far as opacity goes, with our rutland M3 inks anyway. I guess that is where the 180s come in.

We only have 1 flash on our press right now and I hate to run anything around x2. How does 180/48 print WOW?

[Colin]

180s wet on wet:  You need to be very careful because it will orange peel very quickly.  Lots of ink being laid down.  If your base white/platens are really hot, you can gell the ink fairly quickly - maybe 2-3 screens later - same concept as HSA wet on wet.  That will help... but dont ever stop the press or the platens cool down...

I would only use a 225s for sim process base plates.  Yea, to thin a deposit for spot colors.  I use 180s on occasion as details dictate, but it is a bit thin for my personal taste in printing.

I always felt the M3 inks were on the low side for opacity.  We use the C3 system and I have sold my soul for the voodoo magic necessary to make inks more opaque I.e. I play and push the boundaries of pigment load/balance since I have a high powered gas dryer.

I have found on longer prints, 12-16 inch tall designs, below 25 newtons you have a FAR greater chance to see screen/design elongation.  So we keep everything higher.

We are not a "high" volume shop and the learning curve on handling these screens is not short.... but our guys now know what to and not to do with them.  We also never got the technique down to stretch bolt mesh without the corners having issues..... that got pricey... So we went with sure lok, which still isnt perfect, but the corners are re-enforced so popping is farrrrrr less now.

[ScreenFoo]

TBH I've been warming up the 150S mesh slowly, but I agree with Colin, the learning curve is not short.
If high quality is worth a little more money to your customers, it should be worth it to you.

I'd throw in the warning that when you start making those stencils thicker, it's possible that small details will end up taller than they are wide, and the smallest dots may not clear as easily or print very cleanly.

Can fix some problems, can create others if you're not careful.

[Colin]

150s mesh.

1/2 coat Murakami T9 with diazo. 

iImage ST  and Starlight 2132

Smallest halftones are 5% @ 45 lpi.

Printed clean with no issues.  But yes, get too tall and that will happen

[ZooCity]

love me some macro shots of nice stencils.  are you stretching mesh on a bias?

We use the 135/48 here, a delicate mesh for sure but they survive well enough. 

[Colin]

Stretching normally.  Horizontal/perpendicular..... at least we try to keep it that way

I was just angled on my shot.  I was quite happy my cell phone got a good shot or two.

I have thought about running 135's....  But our owner likes the smooth look we get from a quick 2 stroke.  He prices and schedules with that in mind.

Plus white inks have been heading south lately....  "Lets take out all the thickeners so the ink stays nice and creamy" .... such b.s.....