Screenprinting itself has been a recognizable printing process for centuries, with some examples in China dating back to the Song Dynasty (960–1279 AD). If there is an edition of 100 prints being made, each print in the entire edition is built one layer at a time, so that one color layer screen is used on all 100 before moving on to the next color. The mesh is stretched onto a frame, which is then hinged to a table, which lets the artist maintain the alignment of his color layers. The type of material used for the mesh of a screen is usually a fine silk bolting cloth (hence the name ‘silkscreen’), or more popularly a synthetic, like nylon or polyester (which is why the name ‘silkscreen’ is no longer accurate for most contemporary practices). Each color in a screenprint requires a different screen. A squeegee is then drawn from back to front, dragging the ink across the stenciled surface and pushing the ink through the stencil onto the paper beneath. In a fine art screenprinting process, a sheet of high quality archival paper is placed under a framed screen and thick, paint-like ink is poured along the edge of the frame. Fine art screenprints are sometimes referred to as serigraphs to differentiate them from industrialized screenprinting processes like printing on t-shirts with an automated machine. That surface could be almost anything, but let’s use fine art paper as a reference to fine art prints. Screenprinting is a stencil printmaking process in which ink is pushed through a fine screen onto a surface beneath. These three words are used interchangeably in the printmaking world and they all refer to the same process.
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