Photographic Stencil Technique edit
Photographic stencil is a type of screen printing method that creates designs or prints with stencil on film, using a mixture of chemicals such as gelatin, ammonium or potassium bichromate. Ammonium and potassium bichromate play an important role in terms of allowing your main substance (the gelatin) to become sensitive to artificial or natural light.[1] The sensitive substance exposed to light then allows your stencil to go through your film. You can first make a drawing on a thin surface such as trace paper, and then place it on the screen of the frame. After, place a thin layer of your gelatin mixture on top of the drawing and spread it evenly. You want to expose your design to light as soon as you’re done. Using natural light can be a disadvantage since the weather cannot be reliant. The weather is always changing throughout the day and you need a constant light source for this technique.[2] Using artificial light can benefit you since you will have control over it. You can use any sort of light bulb that as long as it emits a strong amount of light, and completely covers your frame. So you should consider the intensity and distance of your artificial light, and size of your stencil. If your stencil is small, then you may use a light bulb made up of 300 or 400 watts. If your stencil is much larger, then your distance increases, and you may need to purchase a light bulb with stronger watts.[3] This also factors into your wait time because the stronger your light source, the shorter amount of time you must wait for it to complete and same vice versa. However, it is difficult to say how long you must wait since all light bulbs are made differently. What you can do is create a small testing to understand how long your stencil would take to dry up and any other implications as well. After your stencil is completely dried up, you may wash it out with warm or hot water and fix the design in cold water. You can then move your design/film onto silk.
- ^ Velonis, Anthony. Technique of the Silk Screen Process. City of New York: New York City WPA Art Project Work Projects Administration Arts Program. p. 34.
- ^ Biegeleisen, J.I. (1941). The Silk Screen Printing Process. New York and London: McGraw-Hill Book Company, Inc. pp. 117–119.
- ^ Beigeleisen, J.I. (1941). The Silk Screening Printing Process. New York and London: McGraw-Hill Book Company, Inc. pp. 119–120.
Screen's Frame and Fabric edit
To make it easier, you can purchase your screen frame at an art store. However, if you wish to make your own screen, there are a few things you can consider. First is the frame of the screen. The recommended frame to construct is out of wood. You do not need a special type of wood for the frame, however, if you are interested, then you may use cypress, basswood, or white pine.[1] You can use these types of wood, but they must be sturdy enough so it does not bend or twist when working on your project. If your frame moves a little, it can disrupt your stencil and destroy your work. So avoid wood with knots and warpage.[1]
The screen itself can be composed of a few fabrics. There are three fabrics that you can use: silk, organdy, and copper mesh. It is recommended to have your screen made out of silk because when you actually work on it, the results will leave your design nice and crisp.[2] Also, it can be reused for multiple screenings so it becomes economical compared to the other two surfaces. All three however, have their pros and cons. Silk can be slightly more expensive, but will be more economical in the long run. Organdy can absorb about 20 percent more paint than silk, however, the fabric with time will become loose. As a result, you spend more money buying organdy.[2] Copper mesh, is more expensive than both fabrics, but it can benefit you on certain jobs.[1] Which surface best to use depends on you and what sort of project, or projects, you are working on.