One of the joys of screen printing is the ability to add different textures to a design, says Kieth Stevens of International Coatings. Read on to discover how to apply flock like a pro
“Texture introduces a tactile dimension that is difficult to replicate with digital or direct-to-garment printing methods,” says Kieth Stevens of screen printing ink manufacturer International Coatings.
“Enhancing a print with texture can transform it from merely good to truly exceptional. For our ‘Green Goblin’ print, we decided to enhance it with flock texture.”
Although Kieth admits flock can be a bit messy to apply, the results are worth it, he says, and the application process is pretty straightforward.
The ‘Green Goblin’ was one of the images International Coatings chose for its 2024 tradeshow display. “As such, we wanted to add a special effect to make some of the characteristics of the face stand out.”
The flock ‘adhesive’ used in this example incorporated a gold shimmer ink. “The idea here is that since we want to use gold flock fibres, the gold shimmer can only accentuate the colour and cover any areas that the flocking process may have missed.”
Golden flock fibres of a standard length that measure approximately 0.8mm were used to create the velvety texture. They were applied using an electrostatic flock applicator – these machines are “readily available from online stores, or in hobby shops”, confirms Kieth.
“Think of the individual flock fibres as ‘spears’ propelled out from the applicator and shot into the adhesive. The electrostatic applicator creates a magnetic field that aligns the flock fibres vertically and allows the fibres to embed their tips into the ‘adhesive’.”
Flock fibres come in different sizes, measured by their length, he explains, and are made from either nylon or rayon. “Rayon tends to have more vibrant colours, whereas nylon flock tends to be more durable, such as for outdoor type applications.”
STEP-BY-STEP: APPLYING FLOCK
(1) The AI prompt-to-text software we used generated amazing images. We chose the goblin image to grace our display wall
(2) The art was separated using halftone 55lpi at 300dpi. The film was printed using an Epson SureColor T7200 printer. The dark orange colour indicates the areas that will have flock applied
(3) First, we printed a white underbase using International Coatings’ Cool White 7022. The Cool White was also used as the highlight white. For the colours, we used UltraMix Pantone Color Matching System 7500 Series. We mixed and matched six PMS colours using our proprietary online formulation tool. The colour inks were printed through Murakami’s Smartmesh 250-40 mesh screens at 22-23 newtons using Newman Roller Frames
(4) In order for the flock fibres to adhere, we used a thick stencil to get a good ink deposit. To prepare the screen, a 110 mesh screen was covered with a Murakami 400 micron capillary film
(5) To apply the flock fibres, we used a mixture of HD Clear 141 mixed with Gold Shimmer 157 ink (50/50 mix) as the ‘adhesive’. We applied the ink mixture and double stroked it to get a nice, thick deposit
(6) After the flock application and curing, do expect some clean-up of the excess flock fibres within the image. Excess flock fibres can be removed by vacuum, blower, or tape
(7) Golden flock fibres are applied using an electrostatic flock applicator. They stand up in the adhesive thanks to the electrostatic applicator creating a magnetic field that aligns the flock fibres vertically
(8) The design was printed using an M&R Sportsman E 10-colour machine. It was then cured at 165°C for one minute using an M&R Mini Sprint International dryer. The temperature was set a bit higher than the standard curing temp to allow the thicker deposit of HD Clear and Gold Shimmer to fully cure
(9) The final print on black Cotton Heritage enzyme-washed, ringspun shirts. The shirts’ fabric experiences minimal fibrillation and creates a very smooth substrate for our prints
