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Screen printing is a printing technique where a mesh is used to transfer ink (or dye) onto a substrate, except in areas made impermeable to the ink by a blocking stencil.A blade or squeegee is moved across the screen in a "flood stroke" to fill the open mesh apertures with ink, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact.
The essential tools required are a squeegee, a mesh fabric, a frame, and a stencil. Unlike many other printmaking processes, a printing press is not required, as screen printing is essentially stencil printing. Screen printing may be adapted to printing on a variety of materials, from paper, cloth, and canvas to rubber, glass, and metal.
His printing press aided the mass creation of text and visual art, eventually obviating the need for hand transcriptions. Again during the Renaissance years, graphic art in the form of printing played a major role in the spread of classical learning in Europe. Within these manuscripts, book designers focused heavily on the typeface.
Seriliths are mixed-media original prints created in a process in which an artist uses the lithograph and serigraph (screen printing). Fine art prints of this type are published by artists and publishers worldwide, and are widely accepted and collected. The separations for both processes are hand-drawn by the artist.
Art historian Mary Francey wrote, "The demand for the two instructional manuals Velonis wrote that described the process in detail was so great that mimeographed copies were made available to artists nationwide. Because it required simple, inexpensive equipment, screen printing had immediate and widespread appeal.
1962 – Henry Geldzahler, curator of 20th-century art at the Metropolitan Museum of Art, took Robert Rauschenberg to Andy Warhol's studio; Warhol showed the visiting artist how he made art from screen prints. Rauschenberg then used screen printing soon after that in his 1962 work Crocus, to transfer an image in black ink. [71]
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