fill gouge in lcd panel made in china

tkbaldwin  what you describe “It shows white when tv is on “ sounds actually more like a bad LCD. Either way, there is no fix for it. You would have to replace the screen to eliminate it. If it is not to bad I would try to learn to live with it for a bit longer since screen are very hard to find. You can always post an image of what your screen shows so that we can verify what the damage is. Adding images to an existing question

Alibaba.com offers 33,320 phone screen repair products. such as machinery repair shops, retail, and manufacturing plant. You can also choose from apple iphone, samsung, and oppo. As well as from 1 year, 2 years, and 18 months. And whether phone screen repair is provided.

I ordered a replacement screen from China on eBay. I followed this write-up to disassemble the screen unit from the car, then disassembled the electronics from the screen (no biggie) plugged the FRESH new screen into the circuit board, replaced the metal protector and connected it back to the plastics, reinstalled it into the car, and voila, totally fresh new screen. Total time. 20 minutes to remove from car and check to make sure it was part number LQ088K9LA02, 2 weeks wait to receive the part from China. Then about 1 hour to remove and replace the screen. Perfect replacement, perfect fit, really pretty easy job.

Vin: PWB input voltage (12V)VDD: ASIC, source IC, gate IC driving power (3.3v)VGH: TFT component switching voltage (~30V)VGL: TFT component turn-off voltage (~ -6v)VAA: step control voltage (~17V)VCOM: liquid crystal reversal reference voltage (~7V)

3. #If all the above is OK, measure the LVDS voltage value. Under normal conditions, the LVDS signal’s RX+/ RX-voltage value is about 1.2v, and RX+/ RX-difference value is about 200mV. At the same time, the resistance of the LVDS signal to ground and the resistance between the LVDS signal pairs can be measured (100 ohms). If there is an exception to these values, try replacing the ASIC.

2. #Confirm whether the VAA is normal (normally about 17V). If abnormal, disconnect the RP32 to confirm whether it is caused by DC/DC loop or X-side COF: disconnect RP32, if the VAA is normal, the COF is bad, CO must be changed; COF can be Disconnect one by one to determine which NG disconnects RP32, VAA NG, try to change UP1; at the same time, confirm whether the continuity of the surrounding triode is OK.

4. #Determine whether the gate IC is OK. There is a signal test point on the back of COG-IC, and the green paint can be scraped for measurement confirmation; If there is a gate IC problem, which IC fault can be confirmed. The confirmation of gate IC fault is only for analysis when you are interested, and this method is not recommended.

1. #Measure GM1~GM14, the values are arranged from large to small. In general, a certain gamma value will be abnormal in the case of NG, then try to replace gamma-IC;

Polarizer / CELL damaged To change the polarizer, a polarizer attaching machine is required The degree of whitening of the picture changes with different viewing angles

2. #Confirm VGH/VGL voltage (about 30V VGH and -6v VGL), and confirm whether it is DC/DC loop NG or COF IC NG; The corresponding resistance of disconnected VGH and VGL can determine whether it is a DC/DC problem or a COF-IC problem. If it is DC/DC NG, try to replace UP1 or confirm whether the corresponding transistor is OK.

3. #If the whiteness changes significantly with the view Angle, and above 1&2 analysis is all OK, polarizer NG or CELL NG can be basically determined.

3. #Confirm whether the gate IC is OK. There is a signal test point on the back of COG IC, which can scrape the green paint for measurement confirmation; Or cut COF halfway from G3. If there is a gate-ic problem, which IC fault can be confirmed.

2. #Confirm whether there is 12V input, if not, confirm whether the connector is OK, and confirm the resistance value of 12V voltage to earth; If conn. NG, change conn.; If 12V is short-circuited to the ground, disconnect FP1 to determine the short-circuiting circuit.

3. #Confirm whether FP1 is open; if open, replaces fuse. If the 12V accessory of this model has a reverse diode, confirm the continuity of the diode and check whether it is burnt.

B. Confirm VAA resistance to ground at VAA test point of R plate (A short circuit usually occurs), disconnect the corresponding capacitance of the following 3 COF, and confirm VAA resistance to the ground again. If OK, replace the capacitor, if NG, replace COF. If VAA is still NG, confirm DC/DC loop as all models.

6. #Disconnect RP32 to confirm VAA, if NG, try to change the PWM IC (in general, it will be good), if still NG, try to change the gamma-ic or corresponding to the VAA several large capacitances (in general, it is rare, this situation is generally accompanied by VAA to the ground short circuit).

3. #Shaking module, if vertical lines disappear or reappear, then it can be judged that the possible cause is COF pin broken, and the crease should be found under the OM microscope.

4. #Press the LCD glass side of the panel, if the vertical lines disappear or reappear, it can be judged that the cause of poor contact, OM checking should be able to find the poor contact.

5. #If there is no display change in pressing, confirm whether ITO is damaged under the OM microscope, or pin signal waveform corresponding to needle COF.

Lamp line is broken Replace the lamp tubing Depending on the backlight structure, there will be different results. The failure of the performance may be a point-off, or it may be a backlight with a dark band.

4. #The above disassembly judgment can basically solve the problems of point-off in the market. If you can’t tell the truth, you can directly change the lamp tube.

Lamp line is broken Reconnect / replace lamp tubing Depending on the protection status of the power board, it may be a backlight with a dark band or it may be a point-off.

3. #Disassemble the backlight, confirm whether there is a short circuit with broken skin on the lamp strip, whether the plug of the lamp strip is fully integrated with the socket, whether the pin is aslant/off, whether the connector is off, and whether the LED bead is black and injured.

The above is the full text of LCD screen failure repair guide, we hope it is helpful to you. If you need to buy LCD and find a reliable LCD supplier, we suggest you to read our other great blog – How to find a reliable LCD supplier.

Founded in 2014, VISLCD is a professional LCD supplier. We provide LCD modules, touch LCD and customized LCD in various sizes with stable quality and competitive price. Welcome to contact us for any LCD demand, thank you.

One of the biggest phobias among Game Boy Advance is getting scratches on the clear screen -- you know, that window that covers the actual LCD display of the GBA system? The actual material isn"t scratch resistant, so if you tend to put the unit in your pocket or toss it in a bag, chances are you"re going to find little hairline scrapes or peck marks along the way. There"s almost no way to avoid it.

We"ve heard all the ideas in the book: Windex. Pledge. Plastic Scratch Remover. Heck, we"ve even heard that one user scrubbed toothpaste all over his screen. But you know what? We"d rather go the more obvious route: a full-on screen replacement.

And it"s not an expensive endeavor. Nintendo actually sells an official replacement kit for the Game Boy Advance (and Game Boy Color/Game Boy Pocket/Game Boy) for only $3.95 plus shipping. It"s, at most, a five-minute process to pull off the old unit and put on the new one -- anyone can do it. And here"s how.

Again, if this was too quick for you, you can watch it being done in our Action Packed Demonstration. Just make sure you"ve got Quicktime and a fast connection.

If the hole is only in a thin surface film, you might be able to press it flat, but if the film has been distorted (stretched), it probably won"t stay flat. You might find that over time, the film may flatten a little on its own. I would not try to soften it with heat because some plastics will shrink and shrivel, making it worse and eliminating any chance for improvement.

If it is a puncture hole that extends into other plastic layers, you will not be able to flatten the raised rim of the hole without damaging a bigger area.

In terms of filling the hole, that is also likely to make it worse and if not, probably won"t improve it. It also depends on the purpose of the surface film and the cause of the bright spot. If it is an anti-glare film,the bright spot may be the next layer. Anything that is not anti-glare film will be a similarly non-diffusing surface. If the filler doesn"t have the same refractive index as the next layer, it may create cloudiness or distortion that will also be noticeable.

Filling the hole with something like what is used to fill holes in car windshields is likely to make it much worse. That material is similar to superglue. It may etch the surface. It may wick under the film and damage a large area. The fumes may etch the surface over a large area.

Similarly, trying to glue down the surface film may wick under the film and mess up a large area. If you use an adhesive that doesn"t wick, you would need a way to compress the film flat until it cures to avoid a permanent bump. Material thick enough not to wick is likely to leave a raised area. The screen sandwich is manufactured using tightly stretched sheets of material that are compressed together and bonded under pressure. It is not a condition you can reproduce to repair a spot.

There isn"t a practical way to actually repair it, but can you make it less noticeable? A number of people responded with ideas based on the principle that a dark spot may be less noticeable than a bright spot. You could potentially make it a little less noticeable, but it"s a question of how much improvement can you achieve and at what risk.

No matter what you do, it will still be noticeable. Maybe a darker spot won"t bother you as much if you get it right. But there is a good chance of achieving little or no net improvement, and a substantial risk of making the situation worse in a non-fixable way.

Anything hard, like a pencil or pen tip, can nudge more film loose, making the hole bigger. Any liquid can wick under the film, leaving a big stained area. Assume permanent markers that will stick to the film will be permanent, whether or not it turns out to be an improvement.

Don"t count on a redo or cleanup, because cleaning fluids, including any dissolved materials, can wick under the film, and rubbing is likely to make the hole bigger. So if you don"t get it as good as you"re going to get it on the first try, you have a good chance of making the problem permanently worse.

Now that you"ve been forewarned, if you are determined to try this, here"s an approach I would try if it was a last resort (disclaimer, I"ve never tested it, but it seems like the least risky alternative). Practice the procedure first on something else to get the feel for how things behave and how much working time you have. Work with a magnifier and good light so you can see what you"re doing. Do the procedure with the screen lying face up and level.

Use a very viscous sticky material with temporary adhesion, like rubber cement for paper. Use an extremely fine-tipped brush, or be extremely gentle with a toothpick, to apply a thin layer to the hole, being careful not to get it anywhere else (not getting it anywhere else is more important than perfectly filling the hole).

While it is still tacky, dust on some dry powdered graphite using a pinpoint applicator (sold in hardware stores as a lock lubricant). Use a soft brush and blowing, while protecting the hole, to remove any graphite that lands outside the hole (you can clean the rest of the screen as you normally would, just be careful to avoid the hole). If you"ve made the problem worse, you may be able to carefully peel this filler off when it dries.

If the hole bothers you so much that you are ready to replace the screen or buy a new monitor, you don"t have much to lose by attempting these measures (other than possibly not having the monitor as a backup in the latter case). Otherwise, consider whether the risks outweigh the minor potential improvement.

Unfortunately, this is one of those problems where the best solution may be to change how you view the problem. You"re aware of the hole, which serves as a constant reminder. Instead of letting the hole bother you, think about how much money you will save by simply living with it. Every time your eye is drawn to it, remind yourself of the savings from not buying a replacement monitor. :-)

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Instructions: Apply polyWatch to the watch crystal. Polish the scratched areas for 2-3 minutes with great pressure and fast movements, using a piece of cotton wool. Deep scratches need to be treated more than once. Finally, remove any remaining polyWatch with a cloth.

“Original” screens are those containing LCDs manufactured for Apple. “Copy” screens are compatible replacements entirely designed and manufactured by third-party companies not associated with Apple.

LCD display panel can have poorer resolution (i.e. looks “coarser”), worse brightness, contrast and vibrancy and reduced refresh rate amongst other problems.

Changes in specification from original can result in battery and performance issues. Certain badly-engineered screens could even damage the backlight circuitry.

Customers who bring their iPhones to us for a screen repair are offered two choices of replacement- an original or a “copy” screen. The most common response is “Is there a difference- and which one would you recommend?”

Originals are those screens containing LCDs that were manufactured for Apple. So-called “copy” screens are compatible replacements, but designed and manufactured entirely independently by third-party companies, typically in China.

Our answer is simple- the original screen is the one we’d go for ourselves, every time. Some people think we make more money on them, but this isn’t the case. We recommend originals because they’re far higher quality and the price difference is fairly small.

We’d rather only fit original screens. The only reason we don’t is that many people will shop around and choose purely on price. As such, we need to offer the cheaper copy screens to remain competitive and avoid losing these customers. In some cases, they didn’t even know there was a difference in the first place- especially since it’s not in some shops’ interest to draw people’s attention to the issue!

This may well be the worst copy screen we’ve ever come across. As a result, the unfortunate customer has ended up paying twice to have their screen replaced- we’re sure that had they been properly informed, they would have chosen an original in the first place.

While the difference in price between copies and originals can vary across devices, it’s generally around £10 – £14 extra to have an original screen fitted. This really isn’t a lot considering the improved quality and reliability.

We compare our prices to our competitors- and we know that we come out of it favourably. While we have to offer copy screens to remain competitive, we always advise customers to go for the original.

When you’ve spent- directly or indirectly- several hundred pounds for an iPhone with a Retina display, it doesn’t make sense to replace it with a lower-quality screen that can make a £400 phone look like a £40 one! Not only that, but you’re likely to have fewer issues, and a longer-lasting screen.

There’s nothing stopping any random person without training or experience opening up a smartphone repair shop. As a result, the industry is full of companies with little skill or experience who are only interested in getting hold of your money and installing the cheapest parts they can find.

Many- if not most- don’t even acknowledge the existence of copy screens, let alone explain the difference to the customer. Hardly in their interest to do so if they only fit cheap, low-quality copies. Some of them can hardly be blamed- they know so little, they’re not even clear on the differences between OEM, non-OEM and copy displays themselves! Others can be more deliberately misleading… and some outright lie.

Generally, these shops are looking for the cheapest price on replacement screens.. When offered a copy at a half or a third of a price of the original, they’re going to go for that. That might be fine if they offered the customer a cheaper price- what we disagree with is selling “supermarket beans” (i.e. the copy screens) at “Heinz beans” prices!

Heading towards the “blatantly fraudulent”, we’re aware of companies that shamelessly fit copy screens while claiming them to be original. Worse, they’ll take your broken original screen and sell that to a recycler for more than they paid for your copy!

Obtained or manufactured “off the clock” via the same production line that produced them for Apple- in some cases, from the stockpile of parts that didn’t meet Apple’s standards, or

Apple tightened up their supply chain around 2015, which reduced the number of screens available for repairs and increased their price dramatically. A lot of companies went bankrupt, and Chinese manufacturers responded by making their own “copy” screens from scratch. At first, these weren’t much cheaper than the Apple ones, but the price soon fell.

We should be clear that- despite the name- “copy” screens aren’t direct copies of the Apple originals. Rather, they’re compatible replacements that have been designed from scratch and- as a result- vary in some respects that have an effect on usability and quality.

One of the most important differences between an original and a “copy” screen is how the digitizer (touch sensor) is designed. Apple has it manufactured as part of the LCD itself, whereas the copies have it on the glass.

Although there are only a small number of manufacturers of the bare LCDs themselves, these are then bought by countless other companies who add the remaining components needed to turn these into a complete working screen. As a result, you could easily end up with an LCD from the best “copy” manufacturer, but the digitizer/touch (as part of the separately-manufactured glass) from the worst.

There are countless digitizers out there, and you can only take the supplier’s word that the quality is good. Many ship good ones at first, then switch to cheaper parts to make more profit. This is particularly bad with the iPhone 6S and 6S+, since Apple moved the chips responsible for touch processing onto the LCD itself. As a result, you’re not just getting a copy screen- you’re getting copy chips too.

The performance specification (power drain, etc.) of most copy screens isn’t identical to the originals. As a result, they can drain the battery more quickly and mislead the operating system which was optimised for the original screen design.

It’s even possible that this mismatch could damage your backlight. We do a lot of subcontracted repairs for less-experienced shops, and get backlight repairs in almost every day. We’ve had cases where we fixed the circuit, fitted the new copy screen to test it, and had it break the circuit again!

Copy screens can disrupt the touch ID fingerprint reader. With the 6S, 6S+, 7 and 7+, the home button- part of the 3D touch- is part of the screen assembly. Frequently the home button flexes on aftermarket designs don’t work properly and stop the touch ID working- annoying if you use it to unlock the phone or log in to your bank.

We’ve seen many lift away from the frame that holds them in place. This usually results in the flex cable getting torn, and the screen needing replacing. You don’t even need to have dropped the phone- this often happens through general everyday wear and tear.

That brings us to another major issue with the copies. When you drop an Apple original, the glass often breaks, but if the LCD itself is intact, you can continue to use it until it’s fixed. With the copies, the touch/digitizer is on the glass and stops working when that’s broken. Even worse, the LCD itself is more likely to break due to the thinner and more fragile glass.

We’re not convinced this will happen, since Apple recently changed their repair policy to accept iPhones with third-party screens. However, it is possible that copy screens could be stopped from working via an iOS update, since those make a number of security checks.

Modern flat screen TV"s have a known problem with capacitors going bad. If your LCD or LED TV won"t turn on, or makes repeated clicking sounds, there is a very good chance that you can save hundreds of dollars doing this simple repair yourself.

I know, I know. You"re thinking, "Tinker inside my LCD HDTV. Are you crazy?" No, I"m not crazy. This is a repair almost anyone can do and this fix will work for any TV.

You sit down and get comfortable, ready to watch your favorite TV show or movie. You turn on your TV and...nothing! Unsure if you hit the power button, you try again...again, nothing! But you do notice a clicking sound emanating from your TV.

HDTV"s aren"t cheap. Most of us have to save, or at least be prepared to spend $800-$1000 on new one. Heck, I"m sure many of you don"t savor the idea of spending a few hundred on repairs.

I have good news. This repair is actually quite simple, and with only a few basic tools and about 20 bucks, you can have your TV working in less than an hour.

The bad News. If your TV is physically damaged in any way, been dropped, has a broken screen or gotten wet then this repair isn"t for you. But if your TV was working one day but not the next, read on.

If you need a soldering iron, that no problem. They are cheap and easy to use. I highly recommend this 60 Watts Soldering Iron Kit. It"s less than 20 bucks. If your looking for the lowest price possible, this 60W soldering iron with stand is about $8 (shipped prime) and will work fine.

After unplugging everything on the TV, you will need to remove the stand. If your TV was wall mounted you will need to remove the TV from the wall, and remove the mounting bracket from the back of the TV.

The TV sits on top and inside the stand, so it wont just flop over when you remove the stand screws, but it"s always safer to have a friend hold the TV upright as you remove the screws from the stand. Then each of you grab a side and carefully lay it flat on a carpeted surface.

Above is a a picture of the back side of a typical TV. The left picture is my LG 42LN5300 and the right picture is my Samsung LN46A550, but all TVs are similar. Remove all of the screws along the outer edge of the back casing. There can be anywhere from 10 - 16 of these screws.

There will also be screws within any area where the are power or cord plugins. You can see these in the lower middle of the pictures. (highlighted with the red rectangle on my Samsung)

Then identify the "power board". Every TV is a little different, but the power board will have can shaped capacitors and is the board that the main power from the plug goes to first. On this Samsung TV I put a green rectangle around the power board that we will be working on..

Remove all of the wiring harnesses from the circuit board. A simple tug on the connector clip (not the wiring) should be sufficient to remove them. On this particular Samsung board there are 7 different harnesses.

Remove the screws holding the power board to the TV chassis. Most boards will have 6 screws holding them down, as does the one shown in the picture. But look it over there could be more or less.

This TV repair focuses on the small "can shaped" Aluminum ElectrolyticCapacitors.These capacitors come in many colors and sizes but are easy to find on any power board. Not only are these the most likely cause of your problem, but bad ones are simple to find and simple to replace. In most instances you will be able to visually identify the bad capacitors. You don"t need any special skills in electronics or testing.

When a Capacitor fails, the chemical reaction inside the capacitor can produce hydrogen gas, so capacitors have vents cut into the tops of their aluminum cans. These are intended to break and release the gas that has built up inside the capacitor. So, a capacitor which has failed can show bulging at the top..

Another sign of a failed capacitor is leaking fluid (electrolyte). This can be an orange or brownish discharge from either the top or bottom of the capacitor. Usually, with leaking the capacitor will also be bulging. But a capacitor can bulge but not leak.

Capacitors do not always show visible signs of failure. But, if you see either of the 2 signs above on your board, you can be confident that you"re close to fixing your TV. If you don"t see these signs of failure, but your TV had the tell-tail clicking sound, you still can be fairly certain the steps below will fix your TV.

On power board pictured above, I have indicated which capacitors you should be examining for signs of failure. These Capacitors are Aluminum Electrolytic Capacitors, and are the most likely cause of your problem. The capacitors with the green arrows are the most likely candidates for being bad, but the blue arrow are other capacitors to examine.

Warning: Do not bother with the large capacitors (2 or 3 will be on every board). These are high voltage, rarely fail and for safety require a little more expertise to work on.

The pictures above are actual closeups of my TV"s board. Notice how the blue capacitors in the foreground are bulging. These are the capacitors I will replace. All other capacitors look OK. If you can find replacements for all 4 of these capacitors, and any others that show visual signs of going bad, I recommend replacing them all while your in here.

Capacitors have polarity. What this means is, like a battery, they have a positive (+) and a negative (-) side. Before removing any capacitor, note which side the white stripe of the capacitor is facing. You will need to put in the new capacitor in the same direction. You probably noted on my pictures that I actually made a note on the aluminum heat sink with a pen.

Now that you"ve identified the capacitors that look bad, turn the board over and carefully identify exactly which points on the board are the wire leads from the these capacitors.

Circle them with a "sharpie" type pen to keep track. Grab your friend and have them help you on this next step. Balancing the circuit board on its side while using a hot soldering iron and pliers can be a bit tricky.

With the circuit board on its edge, have your friend grab one of the capacitors with the pliers and apply a very gentle pulling pressure. Apply the tip of the soldering iron to one lead on the back side of the board and hold it there until you see the solder melt. Now switch to the other lead until it melts. Keep going back and forth on the leads. Each time the solder will melt faster. After going back and forth a couple times the capacitor will easily come out.

Ideally you should match the uF and the temperature rating exactly. But it is acceptable to use a capacitor rated higher uF if it is within 20% of the original.

Place your soldering iron and solder on lead until the heat melts the solder. Once solder melts onto the lead, apply the iron on the lead and solder a few times to melt the solder cleanly on the lead. If you have solder flux, the solder will make a clean connection.

Hi, I have a tv that stopped working in the 5 minutes I left the room. I"ve opened it, and from my tests I know these details: 1, the psu is fine, 2, the leds and their drivers are fine, but the logic board doesn"t signal the psu to turn on,(I had to signal it myself to test if it is ok) and it doesn"t signal the led drivers. I checked the regulators and they output correctly. What else can I check?0

So I took my tv apart and I think I found the problem can you please verify for me? Pictures attached. I think one of the big CAPACITOR is bad and leaking on the bottom of the board is brown.

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The Fill Hole feature lets you automatically create a three or more sided face to fill an open area on a polygon mesh. The open area must be surrounded by closed border edges.

The Fill Hole feature is useful when importing polygonal models from other software applications where the meshes have holes, or to correct and rebuild models that imported with the polygon mesh corrupted in some fashion.

Note: You can also use the Quad Draw tool to accomplish the same thing without creating the polyCloseBorder node. For more information, see Fill holes with Quad Draw.

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 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. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed. One colour is printed at a time, so several screens can be used to produce a multi-coloured image or design.

Traditionally, silk was used in the process. Currently, synthetic threads are commonly used in the screen printing process. The most popular mesh in general use is made of polyester. There are special-use mesh materials of nylon and stainless steel available to the screen-printer. There are also different types of mesh size which will determine the outcome and look of the finished design on the material.

The technique is used not only for garment printing but for printing on many other substances, including decals, clock and watch faces, balloons, and many other products. Advanced uses include laying down conductors and resistors in multi-layer circuits using thin ceramic layers as the substrate.

The poster shop at Heart Mountain War Relocation Center was operated by Japanese-American internees who used the silkscreen method to print information for the entire center (January 1943)

Screen printing was largely introduced to Western Europe from Asia sometime in the late 18th century, but did not gain large acceptance or use in Europe until silk mesh was more available for trade from the east and a profitable outlet for the medium discovered.

Early in the 1910s, several printers experimenting with photo-reactive chemicals used the well-known actinic light–activated cross linking or hardening traits of potassium, sodium or ammonium chromate and dichromate chemicals with glues and gelatin compounds. Roy Beck, Charles Peter and Edward Owens studied and experimented with chromic acid salt sensitized emulsions for photo-reactive stencils. This trio of developers would prove to revolutionize the commercial screen printing industry by introducing photo-imaged stencils to the industry, though the acceptance of this method would take many years. Commercial screen printing now uses sensitizers far safer and less toxic than bichromates. Currently,

A group of artists who later formed the National Serigraph Society, including WPA artists Max Arthur Cohn, Anthony Velonis and Hyman Warsager, coined the word "serigraphy" in the 1930s to differentiate the artistic application of screen printing from the industrial use of the process.

Historians of the New York WPA poster shop give sole credit to Anthony Velonis for establishing Silkscreen methods used there, a reputation bolstered by the publication of his 1937 booklet Technical Problems of the Artist: Technique of the Silkscreen Process. Guido Lengweiler has corrected this misunderstanding in his book, A History of Screen Printing, published in English in 2016. Outgrowths of these WPA poster shops, at least two New York City studios in wartime started decorating ceramic tiles with fire-on underglaze applied by silkscreen starting as early as 1939: Esteban Soriano and Harold Ambellan"s Designed Tiles.

The Printers" National Environmental Assistance Center says, "Screenprinting is arguably the most versatile of all printing processes. Since rudimentary screenprinting materials are so affordable and readily available, it has been used frequently in underground settings and subcultures, and the non-professional look of such DIY culture screenprints have become a significant cultural aesthetic seen on movie posters, record album covers, flyers, shirts, commercial fonts in advertising, in artwork and elsewhere.

Credit is given to the artist Andy Warhol for popularising screen printing as an artistic technique. Warhol"s silk screens include his 1962 Marilyn Diptych, which is a portrait of the actress Marilyn Monroe printed in bold colours. Warhol was supported in his production by master screen printer Michel Caza, a founding member of Fespa.

Sister Mary Corita Kent gained international fame for her vibrant serigraphs during the 1960s and 1970s. Her works were rainbow coloured, contained words that were both political, and fostered peace and love and caring.

American entrepreneur, artist and inventor Michael Vasilantone started to use, develop, and sell a rotatable multicolour garment screen printing machine in 1960. Vasilantone later filed for a patentbowling garments, but was soon directed to the new fad of printing on T-shirts. The Vasilantone patent was licensed by multiple manufacturers and the resulting production and boom in printed T-shirts made this garment screen printing machine popular. Screen printing on garments currently

Graphic screen-printing is widely used today to create mass- or large-batch produced graphics, such as posters or display stands. Full colour prints can be created by printing in CMYK (cyan, magenta, yellow and black).

Screen printing lends itself well to printing on canvas. Andy Warhol, Arthur Okamura, Robert Rauschenberg, Roy Lichtenstein, Harry Gottlieb and many other artists have used screen printing as an expression of creativity and artistic vision.

Another variation, digital hybrid screen printing, is a union between analog screen printing and traditional digital direct-to-garment printing, two of the most common textile embellishment technologies in use today. Essentially, digital hybrid screen printing is an automatic screen-printing press with a CMYK digital enhancement located on one of the screen print stations. Digital hybrid screen printing is capable of variable data options, creating endless customizations, with the added ability of screen print specific techniques.

Screen printers use a silkscreen, a squeegee, and hinge clamps to screen print their designs. The ink is forced through the mesh using the rubber squeegee, the hinge clamps keep the screen in place for easy registration

A screen is made of a piece of mesh stretched over a frame. The mesh could be made of a synthetic polymer, such as nylon, and a finer and smaller aperture for the mesh would be utilized for a design that requires a higher and more delicate degree of detail. For the mesh to be effective, it must be mounted on a frame and it must be under tension. The frame which holds the mesh could be made of diverse materials, such as wood or aluminum, depending on the sophistication of the machine or the artisan procedure. The tension of the mesh may be checked by using a tensiometer; a common unit for the measurement of the tension of the mesh is Newton per centimeter (N/cm).

A stencil is formed by blocking off parts of the screen in the negative image of the design to be printed; that is, the open spaces are where the ink will appear on the substrate.

Before printing occurs, the frame and screen must undergo the pre-press process, in which an emulsion is "scooped" across the mesh. Once this emulsion has dried, it is selectively exposed to ultra-violet light, through a film printed with the required design. This hardens the emulsion in the exposed areas but leaves the unexposed parts soft. They are then washed away using a water spray, leaving behind a clean area in the mesh with the identical shape as the desired image, which will allow passage of ink. It is a positive process.

In fabric printing, the surface supporting the fabric to be printed (commonly referred to as a pallet) is coated with a wide "pallet tape". This serves to protect the "pallet" from any unwanted ink leaking through the screen and potentially staining the "pallet" or transferring unwanted ink onto the next substrate.

Next, the screen and frame are lined with a tape to prevent ink from reaching the edge of the screen and the frame. The type of tape used in for this purpose often depends upon the ink that is to be printed onto the substrate. More aggressive tapes are generally used for UV and water-based inks due to the inks" lower viscosities and greater tendency to creep underneath tape.

The last process in the "pre-press" is blocking out any unwanted "pin-holes" in the emulsion. If these holes are left in the emulsion, the ink will continue through and leave unwanted marks. To block out these holes, materials such as tapes, speciality emulsions and "block-out pens" may be used effectively.

The screen is placed atop a substrate. Ink is placed on top of the screen, and a floodbar is used to push the ink through the holes in the mesh. The operator begins with the fill bar at the rear of the screen and behind a reservoir of ink. The operator lifts the screen to prevent contact with the substrate and then using a slight amount of downward force pulls the fill bar to the front of the screen. This effectively fills the mesh openings with ink and moves the ink reservoir to the front of the screen. The operator then uses a squeegee (rubber blade) to move the mesh down to the substrate and pushes the squeegee to the rear of the screen. The ink that is in the mesh opening is pumped or squeezed by capillary action to the substrate in a controlled and prescribed amount, i.e. the wet ink deposit is proportional to the thickness of the mesh and or stencil. As the squeegee moves toward the rear of the screen the tension of the mesh pulls the mesh up away from the substrate (called snap-off) leaving the ink upon the substrate surface.

Textile items printed with multi-coloured designs often use a wet on wet technique, or colours dried while on the press, while graphic items are allowed to dry between colours that are then printed with another screen and often in a different colour after the product is re-aligned on the press.

Most screens are ready for re-coating at this stage, but sometimes screens will have to undergo a further step in the reclaiming process called dehazing. This additional step removes haze or "ghost images" left behind in the screen once the emulsion has been removed. Ghost images tend to faintly outline the open areas of previous stencils, hence the name. They are the result of ink residue trapped in the mesh, often in the knuckles of the mesh (the points where threads cross).

The original image is created on a transparent overlay, and the image may be drawn or painted directly on the overlay, photocopied, or printed with a computer printer, but making so that the areas to be inked are not transparent. Any material that blocks ultra violet light can be used as the film, even card stock. A black-and-white positive may also be used (projected onto the screen). However, unlike traditional plate-making, these screens are normally exposed by using film positives.

A screen must then be selected. There are several different mesh counts that can be used depending on the detail of the design being printed. Once a screen is selected, the screen must be coated with a photosensitive emulsion and dried. Once dry, it is then possible to burn/expose the print.

The screen is washed off thoroughly. The areas of emulsion that were not exposed to light dissolve and wash away, leaving a negative stencil of the image on the mesh.

A caviar bead is a glue that is printed in the shape of the design, to which small plastic beads are then applied – works well with solid block areas creating an interesting tactile surface.

Discharge inks use zinc formaldehyde sulfoxylate (the zinc analogue of Rongalite) to remove, or discharge, the dye back off the fabric. Cons of using discharge inks are that the process only works properly on dark fabrics that have a content of 100% cotton. Fabrics with under-dyes and fabric blends will discharge their dye to different degrees. The fumes resulting from the application and curing are pungent and strong ventilation and a face mask are commonly needed to relieve exposure. Pros to this process is that discharge is especially effective for distressed prints and under-basing on dark garments that are to be printed with additional layers of plastisol. It adds variety to the design and gives it that natural soft feel.

Expanding ink, or puff, is an additive to plastisol inks which raises the print off the garment, creating a 3D feel and look to the design. Mostly used when printing on apparel.

Foil is much like flock, starting with an adhesive glue or plastisol ink base layer. Foil is finished by applying a thin sheet of reflective/mirror like material on top of the screened base, then heat pressed to set. The foil substrate does not adhere to non-screened areas of the design, and the balance of the foil sheet is discarded.

Four-colour process is when the artwork is created and then separated into four colours (CMYK) which combine to create the full spectrum of colours needed for photographic prints. This means a large number of colours can be simulated using only 4 screens, reducing costs, time, and set-up. This processes utilises halftones. The inks are required to blend and are more translucent, meaning a compromise with vibrancy of colour.

Glitter or shimmer ink is when metallic flakes become an additive in the ink base to create this sparkle effect. Usually available in gold or silver but can be mixed to make most colours.

Metallic ink is similar to glitter, but smaller particles suspended in the ink. A glue is printed onto the fabric, then nano-scale fibers applied on it. This is often purchased already made.

Plastisol is the most common ink used in commercial garment decoration. Good colour opacity onto dark garments and clear graphic detail with, as the name suggests, a more plasticized texture. This print can be made softer with special additives or heavier by adding extra layers of ink. Plastisol inks require heat (approx. 150 °C (300 °F) for many inks) to cure the print, except in the case of low cure inks.

PVC and phthalate free is relatively new breed of ink and printing with the benefits of plastisol but without the two main toxic components. It also has a soft texture and is being produced by most major suppliers.

Suede ink is a milky coloured additive that is added to plastisol. With suede additive you can make any colour of plastisol have a suede feel. It is actually a puff blowing agent that does not bubble as much as regular puff ink. The directions vary from manufacturer to manufacturer, but generally up to 50% suede can be added to normal plastisol.

these penetrate the fabric more than the plastisol inks and create a much softer feel. Ideal for printing darker inks onto lighter coloured garments. Also useful for larger area prints where texture is important. Some inks require heat or an added catalyst to make the print permanent.

As opposed to a thicker "Plastisol Alternative" this (ink) arrives as a concentrate which is mixed into a printing paste (thickener) to allow Screen Printing, this process is best used on light garments and as the dye is in the fibers themselves is often used for dish cloths, napkins and the like. This is similar to traditional textile printing.

High density is a process which uses a type of varnish against a lower mesh count with many coats of emulsion or a thicker grade of emulsion (e.g., Capillex). After the varnish passes through to the substrate, an embossed-appearing, "raised" area of varnish is created. When cured at the end of the process, the varnish yields a Braille effect, hence the term "high density".

Screen printing is more versatile than traditional printing techniques. The surface does not have to be printed under pressure, unlike etching or lithography, and it does not have to be planar. Different inks can be used to work with a variety of materials, such as textiles, ceramics,

In screen printing on wafer-based solar photovoltaic (PV) cells, the mesh and buses of silver are printed on the front; furthermore, the buses of silver are printed on the back. Subsequently, aluminum paste is dispensed over the whole surface of the back for passivation and surface reflection. One of the parameters that can vary and can be controlled in screen printing is the thickness of the print. This makes it useful for some of the techniques of printing solar cells, electronics etc.

Solar wafers are becoming thinner and larger, so careful printing is required to maintain a lower breakage rate, though high throughput at the printing stage improves the throughput of the whole cell production line.

To print multiple copies of the screen design on garments in an efficient manner, amateur and professional printers usually use a screen printing press, which is a colloquial term as most screen printing machines are vastly different from Offset Printing Presses. Many companies offer simple to sophisticated printing presses. These presses come in one of three types, Manual (also referred to as Handbench), Semi-Automatic, and Fully Automatic. Most printing companies will use one or more semi-automatic or fully automatic machines with manual machines for small runs and sampling.

Whilst Manual Screen Printing can be done with Carousels, Handbenches (both of which are often referred to colloquially as presses) or even on to tables. Semi and Fully-Automatic machines are broken into two main categories; Flatbed Printers

These machines are much faster and use either pneumatic pressure generated by air compressors or use electric motors to draw the squeegees, rotate and raise or lower pallets removing much of the manual labour from the task - resulting in significant reductions in operator fatigue as well as more consistent results.

In electronic design automation, the silk screen is part of the layer stack of the printed circuit board (PCB), and the top and bottom sides are described in individual Gerber files like any other layers (such as the copper and solder-stop layers).service print overlays include tSilk/bSilk aka PLC/PLSTSK/BSK (EAGLE), F.SilkS/B.SilkS (KiCad), PosiTop/PosiBot (TARGET), silkTop/silkBottom (Fritzing), SST/SSB (OrCAD), ST.PHO/SB.PHO (PADS), SEVS/SERS (WEdirekt)GTO/GBO (Gerber and many others

The letters "C" and "S" in EAGLE"s old Gerber filename extensions .PLC/.PLS for the top and bottom silk screens have their origin in times when printed circuit boards were typically equipped with components populated on one side of the board only, the so called "component side" (top) versus the opposite "solder side" (bottom) where these components were soldered (at least in the case of through-hole components). Each silk screen layer is often a combination of the corresponding Place and Names layers (and the Dimension layer), thus the "PL" in the filename extension.

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