110 mesh on auto

[Shanarchy]

Does anyone use 110's on the auto? If so, when?

[Binkspot]

One hit wonders, underbase sometimes, shimmer, printing on darks with no underbase, large font, simple low detail prints.

[Sbrem]

all the time, for just what Bink said... great for reflective. We use 110s from Murakami, it allows finer detail on thicker stencils.

Steve

[Shanarchy]

white on black, print-flash-print, basic design (no fine lines or halftones)

Are you folks using 110 or 160?

I am still trying to determine which I prefer. I usually send it around twice with one screen, so the mesh count would stay the same for me.

[spotcolorsupply]

I am still trying to determine which I prefer.

Which looks better..?? 

[Binkspot]

white on black, print-flash-print, basic design (no fine lines or halftones)

Are you folks using 110 or 160?

I am still trying to determine which I prefer. I usually send it around twice with one screen, so the mesh count would stay the same for me.

We usually use 110's and an occasional 156. Usually can pull off a good one hit and off print. I keep a couple of 110's with an extra coat of emulsion for a deeper stencil  just for these quick hit jobs.

[Shanarchy]

I am still trying to determine which I prefer.

Which looks better..?? 

On the manual I use 110's. I seem to like the 110's better on the auto too, but always hear so much about how everyone uses super high mesh counts on their autos and wondering if I'm doing something wrong, or should invest more time in playing with the 160's.

[ZooCity]

Try a 150/48 S from Murakami.

The tension is low compared to standard 110 and 156 but it's like the two counts had a love child.  Dumps ink like a 110 and holds detail like a 156.  Better detail than a 156 actually, depending on coating technique, etc. 

I print halftones @ 55lpi roughly 80-20% fill along with open image areas all on a single 150 screen frequently.   Coated 2/1 with the round edge. 

I'm a hand printer though so this mesh might take some major adjusting on the auto but well worth the learning curve I'd venture.   It's maybe the best mesh ever for underbasing and the most versatile mesh count I've ever encountered.  Give it a shot and see what you think.  You'll need to commit to handling the screens more carefully but again, worth it.

[broadway]

I use both 110 and 156 all the time for PFP on the auto. Depends on what screen i have ready to burn and what the design is.

[Shanarchy]

Try a 150/48 S from Murakami.

The tension is low compared to standard 110 and 156 but it's like the two counts had a love child.  Dumps ink like a 110 and holds detail like a 156.  Better detail than a 156 actually, depending on coating technique, etc. 

I print halftones @ 55lpi roughly 80-20% fill along with open image areas all on a single 150 screen frequently.   Coated 2/1 with the round edge. 

I'm a hand printer though so this mesh might take some major adjusting on the auto but well worth the learning curve I'd venture.   It's maybe the best mesh ever for underbasing and the most versatile mesh count I've ever encountered.  Give it a shot and see what you think.  You'll need to commit to handling the screens more carefully but again, worth it.

I actually have a sur-loc 150 smart mesh panel I have yet to sample. I forgot all about it. I'll have to pop it on and give it some testing.

[ZooCity]

Try a 150/48 S from Murakami.

The tension is low compared to standard 110 and 156 but it's like the two counts had a love child.  Dumps ink like a 110 and holds detail like a 156.  Better detail than a 156 actually, depending on coating technique, etc. 

I print halftones @ 55lpi roughly 80-20% fill along with open image areas all on a single 150 screen frequently.   Coated 2/1 with the round edge. 

I'm a hand printer though so this mesh might take some major adjusting on the auto but well worth the learning curve I'd venture.   It's maybe the best mesh ever for underbasing and the most versatile mesh count I've ever encountered.  Give it a shot and see what you think.  You'll need to commit to handling the screens more carefully but again, worth it.

I actually have a sur-loc 150 smart mesh panel I have yet to sample. I forgot all about it. I'll have to pop it on and give it some testing.

Watch the tension on those suckers.  You want about 24-26 n/cm when it stabilizes.  More can be had but will shorten the life span.  You'll need a higher o.c. if you're setup for screens in the 35 n/cm range and you'll need to back that pressure waaaay off.  Less pressure = more ink with this mesh. 

[Socalfmf]

we use 156 for that...but like others said we use 110 for shimmer, hd,ect...

sam

[Inkworks]

Like others said, 11o's on auto only for coarse shimmer or puff 

[alan802]

All the time.  Do what I did and burn the same image on a 110, 137, 156, 195 and a 230, set them all up on the auto and print white ink onto navy or black garments and just compare them. Do pfp as well as one hits, measure the hand and thickness and really look at which print you think has the best look with the most acceptable hand and don't worry about what other shops are using. I heard many shops talking about using mid and high mesh for underbasing and just your normal white design on dark garments while we were still using 110 and even some 86's so I did this experiment. I didn't like how the prints looked through the higher meshes, and even the 156 was not very impressive.   

I really like printing white designs on darks and underbasing through a 150/48 murakami. It's a thinner ink deposit but it takes so little pressure to print that the ink sits on top of the fibers so nicely, increasing opacity, especially if you print with a fast stroke.  That mesh allows you to have a very opaque print with less hand.

[Gabe]

we usually use 110 mesh white base on darks flash to gel around 220 degrees
then a 155 screen on top PFP
makes it looks top notch print
that said.
if it is a job with more colors
we normally use a 125 mesh for the base flash then print other colors on top
this give it a more hand feel