Top print opacity

[ScreenPrinter123]

Two questions for the pros:

(1) So, I've read throughout a number of threads how many of you printers are using in the neighborhood of 200-230 mesh counts for white underbases and then the same for a highlight white along with 230's or so for other color top prints.  We just switched to Murakami's smart mesh, so I may be able to start using higher mesh counts, but prior to now, I would not do anything higher than a 155 for a white underbase and use 200's and 230's for top colors depending on how well a particular color had historically whistled through "x" mesh count (for us, Union's plus series lemon yellow, e.g., tends to be notoriously difficult to get through the 230 mesh we used to use before switching to the Murakami).  And the reason for a lower mesh count for the white underbase is because I simply could/can not get the top layer of ink to be bright and vibrant without doing a print-flash-print-flash with the white and then doing the top layer inks.  I know the optimal technique is to underbase with a one hit white (with as little pressure as possible, proper tension, thicker eom if necessary, etc -- and I've tried all of this), but the problem is that the top layer comes out just as non-opaque and non-vibrant as the white underbase.  So, if it's on a black shirt, you can clearly see the black shirt through the red on top of a one-hit-white-underbase with a red top print -- it has that "splotchy" gray look on the white underbase, which translates into a non-solid/non-vibrant "splotchy" red look because the white was simply not opaque enough.  So, contrary to what I remember hearing at an SGIA seminar, you don't just want to lay an underbase so the other top colors have something to sit on -- you actually need an opaque white underbase, it seems, in order to achieve an opaque top layer.  So, my question for you pros is how do you get a solid, smooth white underbase with one stroke so that you don't have to do a print flash print flash and get a vibrant top print without that "splotchy" look?  Should I consider using max opaque inks for top colors?  I use Union's Bright Cotton White for most shirts since we mostly use 100% shirts.

(2) How do you achieve a matte look in your shop?  Who makes the best additive for it and how much do you have to mix in?

Thanks in advance for your suggestions.

[Dottonedan]

This is my hunch. It sounds to me, that you have several issues to address or look into.

1, Mesh tension. Keep every mesh at it's optimum potential. If you do not know what that is, you should find out.

2, off contact, Keep (as close) as possible. (e.g) 1/32" If you change it for any reason (sweats), change it back when done.

3, squeegee pressure. Start out backing off the pressure to the point you can no longer clear the screen, (then), you can add just enough to clear. THAT is ALL you need. True, no more. If you need more, then something else is off.

4, Ink. Check out Mark Coudrey's article. He touches on the ink (types) to use, not brands. http://www.impressionsmag.com/impressions/images/TechTipsNL_Apr2012JERZEES_final.pdf


The main reason I posted what I did, is that I think you are driving the ink into the shirt too much. It needs to sit (on top) and not be driven in. Too much pressure. This is how peole get one hitof white and it's bright enough to support the top colors (and then adding the top white makes it BRIGHT white.