However, it is possible to build the frame at home and, in this case, wood becomes more viable, with the advantage of being able to make it in customised sizes, different to the standard sizes supplied by the shops, as well as being able to replace the mesh easily when necessary. Apart from the convenience of coming perfect from the factory, aluminium avoids the maintenance required by wood. Nowadays, the frame is not an expensive piece, costing from around $25.00 (plus shipping) for a model in aluminium and 120T mesh, measuring 50×60 cm, for example, but also depending very much on the brands, manufacturers and countries of origin. The silkscreen frame, usually made of aluminium or wood, is one of the most important silkscreen printing process pieces, as it holds the stretched mesh, where the matrix corresponding to what you want to print is developed. You can read more about it in the History of Screen Printing post. But to differentiate the artistic from the non-artistic there is still the term serigraphy, created by the American National Serigraphy Society, in 1940. But both terms are still used, regardless of its mesh origin, perhaps the silkscreen is more used in manual technique and the print screen in mechanized model like the industrial screen printing. Print screen is the term applied from the time when the mesh ceased to be made of silk and started to be synthetically manufactured with the discovery of nylon, at the end of the 19th century. Silkscreen is the term applied to the time when the silkscreen mesh was actually silk, between the 18th century and the first half of the 20th century. Remember that silkscreen and print screen refer to the same printing technique. This post makes up the first part of making a silkscreen frame.
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