Now Available Online
Same Day Dispatch
*Orders received before 12.30 pm will be shipped the same day
Silk SCREEN INK
Derivan silk Screen Ink is a totally water-based screen printing ink.
Derivan Screen Ink has been formulated as a safe, non-toxic silk screen printing ink for fabric and can also be used for tie-dyeing. It can be used in the classroom or at home safely without the worry of being exposed to harmful solvents such as white spirits, turps or thinners. Derivan Screen Ink is water-based and washes up in water (before it is heat set) but has excellent rub resistance and lightfastness once heat set.
COLOURS
WHITE
LEMON YELLOW
MID YELLOW
GOLDEN YELLOW
YELLOW ORANGE
BRIGHT ORANGE
MID RED
BRIGHT RED
BRILLIANT PINK
PURPLE
ROYAL BLUE
GREEN LIGHT
TURQUOISE BLUE
MID GREEN
BROWN
BLACK
METALLIC BRONZE
METALLIC SILVER
METALLIC GOLD
METALLIC COPPER
REDUCER
FLURO MAGENTA
FLURO ORANGE
FLURO RED
FLURO BLUE
FLURO GREEN
FLURO YELLOW
HOW TO uSE SILK SCREEN INK
Tools for silkscreen printing
Silkscreen
squeegee
painters tape
fabric
paintbrush
screen printing ink
Removing the size!
For best results, you will need to wash the fabric before printing as this will make sure there is no problem with of the ink to the fabric.
Colour Mixing
All the colours may be intermixed to form bright secondary and tertiary colours. White (Opaque) may be mixed if pale pastel opaque prints are desired on dark coloured fabrics.
Making Transparent Shades
with Screen Reducer
Derivan Screen Reducer is a thick milky coloured paste which dries colourless and transparent. It is used for intermixing with standard printing colours to extend deep colours into pale or lighter translucent shades (Red into transparent pink, etc.). Mainly for White or pale fabrics.
Choice of Fabrics
Best results are obtained from absorbent fabrics; avoid waterproof materials as they tend to inhibit penetration and repel the water-based colours. Fabrics containing starch, size, fillers, softeners or crease-proof treatments should be washed prior to printing. Materials containing waterproofing treatments may not accept the paints and may result in mottling, poor colour adhesion or patchy printing and may not remain wash proof.
Clean up
Wash all utensils, brushes and hands with soap and water to clean up.
Mesh size
Generally speaking, the best mesh size for fabric printing is 43T (monofilament). A coarser mesh screen is required for fabric than for paper; more ink is needed as the fabric tends to be more absorbent. If you are printing on paper, especially if it's a very detailed design and it is all about the details you need a higher T rate, so 77T *finer screen is require
Choice of fabric
Best results are obtained from absorbent fabrics; avoid waterproof fabrics as they tend to inhibit penetration and repel the water-based colours. Fabrics containing starch, size, fillers, softeners or crease-proof treatments should be washed prior to printing. Fabrics containing waterproofing treatments may not accept the paints and may result in mottling, poor colour adhesion or patchy printing and may not remain wash proof.
TECHNIQUES
Tie-dying.
Derivan Screen Ink is also the perfect choice to create beautiful patterns using the Tie Dye technique.
Tie-dying.
Add 1 heaped teaspoon of table salt to a 250ml of Screen Ink of a colour of your choice and stir
Tie-dying.
it takes quite a bit of stirring - the mixture should become as thin as water - which is great for painting on fabric. Of course to dye with, you will need to add water, how much water will depend on the choice of colour you are using and how strong you want it to be, start with 1 part of mixed Screen Ink to 10 parts water for a strong dye colour - or reduce the colour strength as desired by adding more water.
the mixture should become as thin as water !
INSPIRATION
HEAT SETTING
Paints used in fabric printing require heat fixing in order to become wash proof. Any type of heat can be used for this purpose. Heat tunnels or ovens may be used, but the most common form of heat fixing is the use of household iron. The main points to be observed are:
Ensure your design has completely air dried before it is heat fixed.
When heat fixing, apply heat evenly and continuously for the required time over the image.
Be sure not to scorch or burn the image or garment by keeping the iron moving constantly. Remove the iron briefly if the garment is getting too hot before continuing.
Use a tea towel or another piece of cotton cloth over the image to iron on. Do not use the iron in direct contact with the image.
Heat fix times and temperatures: Please note heat fixing times and temperatures are subject to vary depending on the accuracy of the settings in the appliance to be used. The following is a guide only:
• Cotton, calico, linen, rayon 4-5mins at 140°C -180°C
• Synthetics, nylon, polyester, tetron, acrylic 5-8mins at 115°C -130°C
It is important to remember that valuable projects always warrant a test. Heat fixing tests should always be done on the fabric to determine the temperature and time required
to make the image fast (permanent) but without scorching the particular fabric. Test by heat
You’ll need to set the fabric paint with heat. In order for the paint to set permanently into the fabric, it has to be set with heat. Check ahead of time that the fabric you’re using can be treated with heat since this step ensures that your design will last much longer than without it.
|
|
|
Looking After Your Art Brushes
- Mix a small amount of soap and water into a lather and massage into the bristles. Rinse with water. Reform the tip with your fingers and dry flat to prevent excess moisture gathering at the base of the bristles.
- Dry brushes can be stored either upright or flat in a cool, dry place out of direct sunlight.
- Do not leave brushes standing tip down in a water container for a extended period. The bristles may become permanently distorted and loose.
- Do not allow acrylic paint to dry on the brush. It is extremely hard to remove.
- If dried paint has made a brush unusable, don’t throw it away. Either end may be suitable for use as a tool for scratching and scraping paint to achieve interesting effects.
- Remove any excess oil paint from the brush with a piece of newspaper.
- Pour a small amount of mineral turpentine into a jar with a lid and swirl the brush before wiping it again with the newspaper. Repeat until the remaining oil paint is removed.
- Mix a small amount of soap and water into a lather and massage into the bristles. Rinse with water. Reform the tip with your fingers and dry flat to prevent excess moisture gathering at the base of the bristles.
- Dry brushes can be stored either upright or flat in a cool, dry place out of direct sunlight.
- Keep the mineral turpentine in a jar for later use, discarding only when the contents become too dirty to use.
- Mix a small amount of soap and water into a lather and massage into the bristles. Rinse with water. Reform the tip with your fingers and dry flat to prevent excess moisture gathering at the base of the bristles.
- Dry brushes can be stored either upright or flat in a cool, dry place out of direct sunlight.
- Do not leave brushes standing tip down in a water container for extended periods. The bristles may become permanently distorted and loose.
- Place brushes in a brush holder while you are working or lay them down flat to avoid undue pressure on the bristles.
- Some staining of the bristles of synthetic brushes is likely to occur and will not impact the future use of the brush, assuming it has been thoroughly cleaned.