Awards & Engraving

October '18

Issue link: https://nbm.uberflip.com/i/1023275

Contents of this Issue

Navigation

Page 60 of 84

58 a-e-mag.com • A&E OCTOBER 2018 It all has to do with the artwork. Even when you have created the best possible artwork, you still have to print it, and no matter what printer you use, the darkest, blackest print is still not 100 percent opaque. So, when you add time to the recommended exposure time, the light source eventually penetrates the black areas and partially exposes those areas as well. In a washout film, this means that the black areas get partially hardened and can't wash out, while with the dry-process film, it means that the areas that need to create the stencil background also get broken down by the light and will partially, or completely, blast away. EXPOSURE PROBLEM TWO: UNDEREXPOSURE Here we have the opposite effect from the previously described situation. Again, assume that you have created the perfect artwork on film and are ready to make your stencils. For some reason, you may have selected a shorter exposure time than suggested for your product. After the exposure, you begin the washout process. When you spray the film with water, you see the image coming up, but it is somewhat faint. As you keep washing to see the image more clearly, you notice that the background of your image (the color of whatever color your product is) is becoming lighter This shows you what the areas to be blasted should look like in a correct washout: clear. IMAGE COURTESY RUTH DOBBINS This is an example of an overexposed film; you can see the design, but it will not wash out and become clear in the design areas. IMAGE COURTESY RUTH DOBBINS A completely unexposed film. We often put items in our exposure unit just to get interrupted by something. Coming back, we thought we had exposed the film but found out in washing that that was not so and lost the film. IMAGE COURTESY RUTH DOBBINS

Articles in this issue

Links on this page

view archives of Awards & Engraving - October '18