Thoughts on Discharge

I should start by saying that I do not consider Motion Textile to be a discharge printer, but we’re pretty damn good at discharge printing.  To clarify, I’m saying that there are printers whom primarily print waterbase/discharge and do so very proficiently, efficiently, and profitably.  I think the only way to get to that place is if you choose to or are forced to print primarily with these inks.  The more you do it the better you get and the “easier” it becomes (though it is never easy).  It’s not unlike an inkjet printer that runs beautifully as long as you use it day-in day-out, but as soon as you let it sit for a few days/weeks/months it all goes to hell and takes a bit of work to get it running again.  I feel like we are that inkjet printer.  Every discharge job we run seems like the “inkjet printer” is starting up again after an idle period that once running produces amazing results.  I wanted to share this perspective as I’m sure many of you feel the same way.  I will have some forthcoming posts which get into the more technical aspects of discharge printing, but for now I want to share one of my favorite discharge prints along with a few simple tips.  Enjoy…

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I wish every discharge print we did was rough and distressed. It sure takes a lot of pressure off. But that is not reality. Our customers want clean lines, multiple colors, corporate logos, you name it

 

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We use Rutland’s waterbase/discharge mixing system, Murakami LX mesh (135-180), and triple-duro squeegees (65/95/65)

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Perfect stencils, solid penetration, and proper cure (especially with pigmented discharge) are the key to producing perfect discharge prints. And, oh yeah, don’t forget about garment selection (that’s another post)

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