CDF® Capillary Film

EZ-50 Orange Textile Capillary film; fast-exposing (SBQ)
EZ-Film-30
CDF® Vision - Dual cure capillary film enhances cross-linking
CDF® Lexar - Photopolymer (SBQ) capillary film system
CD/QT Thick-Film - SBQ sensitized thick films 30µ up to 400µ

Within any CDF series film, thinner films are generally used for finer detail, thinner ink deposit applications on fine screen mesh, whereas thicker films are used on coarser mesh when circumstances demand thicker ink deposits inherent to such mesh/stencil combinations.

Exposure Step Test Video 4Mb 2 minutes
"How Does Capillary Film Work" video 95 Mb 17 minutes
Capillary Film Cross Reference
Ordering Information
Building Thick Film Stencils for Special Effects Printing
Direct Film Troubleshooting Checklist

EZ-50 Orange

imageTech Data Sheet imageProduct Fact SheetimageTech Data Sheet- Spanish
imageEz-50 Orange Film for Imprinted Sportswear

EZ-50 ORANGE is a pure photopolymer (SBQ), pre-sensitized capillary film appropriate for general sportswear printing. EZ-50 ORANGE is fast exposing and its high-contrast orange color “masks” halation and light scattering, thereby improving resolution without the need to use more-costly dyed mesh. EZ-50 ORANGE is coated on 300-gauge matte polyester. EZ-50 ORANGE (50 microns) is recommended for use with mesh counts ranging from 33 to 77 threads/cm. (86 – 196/inch.). EZ-50 ORANGE can be adhered with plain water, or with ORANGE ™ emulsion in the direct/indirect mode.

Features

 Benefits
Consistent stencil thickness Control of ink deposit and ink costs
Consistent exposure time
Solvent resistant Compatible with aggressive inks and solvents
Reclaims easily without staining screen fabric
Transparent pink color Easy stencil inspection and see-through registration
Easy to Use Minimal training required
Perfect stencils—every time
Fast exposure and processing Fast stencil turnaround
Dries faster than direct emulsion


Formats: EZ-FILM-50 is available in prepackaged sheets ≈ 38 X 43 cm. (15 X 17 inches) and ≈ 43 X 60.9 cm. (17 X 24 inches), packaged 50 per box (2 X 25).

CDF® Vision- Dual cure capillary film enhances cross-linking

imageProduct Fact Sheet (English)imageProduct Fact Sheet (Spanish) imageProduct Fact Sheet (German)
imageTech Data Sheet

CDF Vision is a diazo dual-cure capillary film system. Its special formulation controls
mesh penetration and enhances photo-polymerization, resulting in sharp printing
shoulders and mechanical durability. Particulate-size control reduces granularity
effects for optimal resolution and definition. Texturing agents impart a micro-structural
pattern to the bottom of the stencil, minimizing hydrostatic attraction to the printing
stock under conditions of high humidity, and electrostatic attraction under low humidity
conditions. CDF Vision is compatible with UVs, vinyls, and virtually all solvent-based
inks. Depending on the thickness selected, it is suited to such printing applications as:
electronics circuit traces and membrane switches, halftones, CDs and DVDs, ceramic
decals, posters, and containers and bottles. CDF Vision is coated at thicknesses of 15μ,18 μ, 20μ, 25μ, and 35μ.

Features

 Benefits
Excellent imaging properties Superb acutance (printed edge definition) and resolution
Solvent resistant Compatible with aggressive inks and solvents
Reclaims easily without staining screen fabric
High-contrast color Easy stencil inspection and see-through registration
Easy to Use Minimal training required
“Pre-coated” stencils = perfect stencils—every time
Consistent exposure time
Consistent stencil thickness = control of ink deposits—and ink costs
Wet processing reduces drying time and pinholes; speeds production
Fast exposure and processing Fast stencil turnaround
Significantly less labor and production time
Wide exposure latitude

Formats: Available in rolls or custom-cut sheets (no mess, no waste!)

CDF® Lexar - Photopolymer (SBQ) capillary film system

imageProduct Fact Sheet (English) imageProduct Fact Sheet (Spanish) imageProduct Fact Sheet (German)
imageTech data sheet

CDF Lexar is a series of SBQ (pure photopolymer) capillary films for use with solvent-based inks. CDF Lexar is easy to reclaim and well suited to the printing of flat-stock graphics, plastisols for textiles, POP displays, computer-to-screen (CTS), containers, printable adhesives, and advertising specialties. The red film is coated on a matte-surfaced polyester. This imparts a slight texture to the printing surface of the stencil, thus minimizing hydrostatic attraction to the printing stock under conditions of high humidity, and electrostatic attraction under low humidity conditions. CDF Lexar is coated at thicknesses of 15 (for mesh counts of 165 or more threads /cm. ≈ 419+ /in.), 20 (120 – 165 /cm. ) (305 – 419 /in.), 25 (100 – 150 /cm.) ( 255 – 380 /in.), 30 (90 – 165 /cm.) ( 230 – 419 /in.), 40 (77 – 120 /cm. ) (196 – 305 /in.), and 50 (33 – 77 /cm.) (86 – 196 /in.).

Features

 Benefits
Matte-surfaced polyester backing imparts textured surface to the printing surface of stencils Minimizes hydrostatic attraction to printing stock under high humidity conditions
Minimizes electrostatic attraction under low humidity conditions
Good solvent resistance Reclaims easily without staining screen fabric
Red, high-contrast color Easy stencil inspection and see-through registration
Easy to Use Minimal training required
“Pre-coated” stencils = perfect stencils—every time
Consistent exposure time
Consistent stencil thickness = control of ink deposits—and ink costs
Wet processing reduces drying time and pinholes; speeds production
Fast exposure and processing Fast stencil turnaround
Significantly less labor and production time
Wide exposure latitude

 

Formats: Available in rolls or custom-cut sheets (no mess, no waste!)

EZ-FILM™-30 - 30-Micron Textile Capillary Film, Priced as a Viable Alternative to Direct Emulsion; Fast Drying, Fast Exposing Pure Photopolymer (SBQ)

Color Solids Viscosity Shelf Life
Pink 94% none 18 months in cool dry storage - Coated Screen Life 4 weeks

Technical Data SheetbuttonTech Data Sheet- Spanish

EZ-FILM-30 is ideal for standard textile printing using conventional, non-aqueous garment printing inks. It is priced to be an economical alternative to direct emulsion in material cost and because it offers significant savings in labor and production time. EZ-FILM-30 is ideal for mesh counts ranging from 230 - 419 threads /inch (90 and 165/cm.). It is pink in color and coated on 300-gauge matte-surface polyester. EZ-FILM-30 produces superb stencils quickly, consistently, and with no mess or waste. At a controlled-coating thickness, EZ-FILM-30’s exposure time and ink deposit (with the same mesh count) is always constant. It adheres perfectly, dries faster than direct emulsion, and exposes very quickly. EZ-FILM-30 can be adhered with plain water or with QTX® direct emulsion. EZ-FILM-30 is sold in convenient prepackaged sheets.

Features

 Benefits
Easy to Use Minimal training required
Perfect stencils-every time
Fast processing and exposure Dries faster than direct emulsion
Fast stencil turnaround
Consistent stencil thickness Control of ink deposit--and ink costs
Consistent exposure time
Wet processing Reduces potential for pinholes
Speeds production
"Pre-coated" stencils Significantly less labor and production time
Prepackaged film sheets No mess, no waste
Speeds up application.
Transparent pink color Easy inspection and see-through registration



CDF®/QT Thick-Film

Color Solids Viscosity Shelf Life
Rubine Red 94% none 18 months in cool dry storage - Coated Screen Life 4 weeks

Thick film on Stainles Steel for UV spacers Product Fact Sheet Technical Data Sheet
buttonTech Data Sheet (Spanish)
Building Thick Film Stencils for Special Effects Printing

Intended for printing with plastisol inks on t-shirts and imprinted sportswear items. Extremely fast exposure times make the QT series suited for use with low power light sources. SBQ sensitized, pink colored films available in 30, 50, 100, 150, 200, 250, 300 and 400µ thicknesses. Adherable with water or QTX® emulsion.

CDF/QT Thick-Film is ideal for the production of thick stencils for specialty printing needs, including high density, puff, and lenticular effects for imprinted sportswear; peelable solder masks in the electronics industry; false mosaic and leading effects for glass and ceramic decorating; screen printed gaskets and seals; and many other manufacturing and decorating applications requiring ultra-thick ink deposits with non-aggressive solvent inks and pastes.

Thick Film High Density Print CDF/QT Thick-Film is a precisely coated, capillary film version of Ulano’s best-selling QTX® direct emulsion. Like QTX, CDF/QT Thick-Film utilizes pure photopolymer (SBQ) technology to assure extended shelf life and minimal influences from heat and humidity, the fastest possible exposure speed, good imaging properties, and on-press durability. Generally, CDF/QT Thick-Film is adhered to fabric with QTX using the direct/indirect application technique. CDF/QT Thick-Films can be laminated to produce unlimited stencil thickness variations.

The use of CDF/QT Thick-Film offers significant savings in labor and production time over the use of direct emulsion to produce stencils of similar thicknesses.

Packages of mostly 10 Pre-Cut Sheets
  • CDF/QT-30 50 sheets
    PCDF/QT301414 14"x14"
    PCDF/QT301618 16"x18"
  • CDF/QT-50 50 sheets
    PCDF/QT501414 14"x14"
    PCDF/QT501618 16"x18"
  • CDF/QT-100
    PCDFQT100810-X     8"x10"
    PCDFQT1001414-X 14"x14"
  • CDF/QT-150
    PCDFQT150810-X     8"x10"
    PCDFQT1501414-X 14"x14"
    		•
  • CDF/QT-200
    PCDFQT200810-X     8"x10"
    PCDFQT2001414-X 14"x14"
  • CDF/QT-250
    PCDFQT250810-X     8"x10"
    PCDFQT2501414-X 14"x14"
  • CDF/QT-300
    PCDFQT300810-X     8"x10"
    PCDFQT3001414-X 14"x14"
    CDFQT3001414-214" × 14" 2 test sheets/li>
  • CDF/QT-400
    PCDFQT400810-X     8"x10"
    PCDFQT4001414-X 14"x14"
    CDFQT4002026-5     20" × 26" 5 test sheets
    		•

    CDF/QT Exposure Chart

      QT-30 QT-50 QT-100 QT-150 QT-200 QT-250 QT-300 QT-350 QT-400
    Mesh count/IN
    200-400
    60 - 180
    30 - 160 / inch
    Mesh count/CM    
    10 - 75 / cm

    Evaluating Light Sources

    Fiat lux! (“Let there be light!”), one of the earliest proclamations in the Book of Genesis, should be one of your first considerations in the creation of photographic stencils. Light sources have three main attributes. Insofar as a light source optimizes each attribute or not, it will produce stencils ranging from superb to poor.

    SPECTRAL OUTPUT

    The wavelengths of light, or spectral output, of an exposure source should match closely the spectral sensitivity of photo stencil materials. The closer the match-up, the more efficient the light source, and the better it will “cure” or cross-link the molecules of the stencil material, so that the stencil will be more durable. The common sensitizers used in photo films and emulsions have specific sensitivity ranges, as shown on the “Sensitizer Absorption Chart” (below). It’s a common misconception that photographic stencil materials are “UV-sensitive.” In fact, they are sensitive to light ranging from upper-ultra-violet through the visible blue part of the spectrum. (That’s why yellow lights make good safelights, because photo stencil materials don’t react to the longer wavelengths of yellow.)

    Sensitizer Absorption Chart

    LIGHT INTENSITY

    Photo stencil materials, even those comparatively fast ones formulated for projection exposure, are not nearly as fast exposing or sensitive as camera film. If photographic stencil materials were made that fast, they would be virtually impossible to protect from “pre-exposure.” Thus, light sources need the power, the intensity, to expose stencils in a reasonably productive amount of time.

    LIGHT GEOMETRY

    Light geometry concerns the angle of incidence of light rays as they strike the artwork and pass through its “clear” portions into the photo stencil material. Light rays emitted from a small area or “point source”--at a minimum distance of 1½ times the diagonal of the stencil--are more nearly perpendicular as they meet the artwork and stencil (“Perpendicular Light Incidence,” back page). This affords better transfer of image and non-image information from the artwork into the photo stencil material.

    By contrast, with a widely dispersed light source such as fluorescent tubes, light rays enter the stencil material at oblique angles, quite literally angled behind the dark edges of the artwork, reducing the fine detail or resolution of the stencil (“Wide Angle Incidence”).

    We categorize light sources according to how well they provide the three key exposure attributes. The highest quality light sources are metal halide or carbon arc. Mercury vapor and pulsed xenon are of medium quality. Quartz lamps, fluorescent tubes. Grolites®, fotoflood bulbs, etc. have problematic deficiencies, though they can be quite adequate for low resolution work, or in shops that don’t need high stencil throughput.

    Perpendicular Light Incidence"Perpendicular" Light Incidence
    Wide Angle Incidence (fluorescent tube unit, top)Wide Angle Incidence (fluorescent tube unit, top)



    All is not lost if you have a poor light source, but you will have to work smart to compensate for it, and understand and accept the limitations imposed by it. For help in making the most of your light source, contact Ulano Technical Services, Brooklyn, at 1-800-221-0616. Fiat lux!

    D-max, D-min, and De-lineation: Evaluating Artwork

    Evaluating Artwork

    By “artwork,” we mean any imaged media placed between a light source and photo-stencil film or emulsion during exposure. Most photographic stencils are contact exposed in a vacuum frame, so the dimensions of the artwork are the same as those of the stencil and the final print. Image setter-exposed silver film (right-reading photographic positives*), laser toner (usually on vellum), inkjet on inkjet film, thermal images, and knifecut masking film (Rubylith® brand)—all are commercial media used for contact exposure.**

    The essence of screen printing is a stencil that blocks the flow of ink to non-image areas of the print and is “open” in image areas, allowing ink to flow freely through the fabric. The integrity of the stencil material and the uncompromised openness of the image areas are equally essential. In addition, there should be a clear demarcation between image and non-image areas. These attributes originate with the artwork.

    Photo stencils can never be better than the artwork used to generate them, nor can the final print be better than the stencil. If the “dark” areas of the artwork lack sufficient density*** to block light during exposure, or if they contain pinholes or ‘thin spots,” stencil material will harden in what should be the open, image areas of the stencil, and ink will not flow readily through the image areas of the stencil during printing. Similarly, if “clear” areas of the artwork are, at best, translucent rather than transparent, or contain “artifacts” such as dirt or dust, light energy will be filtered or blocked before it reaches the stencil material; non-image areas of the stencil won’t be fully “cured” or cross-linked and may break down during the printing run. Finally, if the delineation of image and non-image areas is pixilated, fuzzy, or lacking in acutance (edge sharpness or “definition”), so will the image edges on the final print.

    *Any text or other information should be on the emulsion side of the positive and appear as you will want it to look on the final print; the emulsion side of the positive is placed against the stencil material during exposure.

    **Projection exposure requires silver film positives that are considerably smaller than the final size of the print. Such positives must be of very good quality, as projection by its nature enlarges imperfections. “Computer-to-screen” systems don’t use “artwork” as we’ve defined it here. These systems either apply an image in inkjet wax directly to the stencil material (“inkjet CTS”) or utilize Texas Instruments’ digital light processing (DLP®) system to expose a screen “pixel by pixel” (“digital direct exposure”).

    ***The “dark” and “clear” areas of artwork can be measured on a densitometer. The opacity of the dark areas is referred to as D-max (maximum density) followed by the numeric densitometer reading. D-min refers to the minimum density—which is a measure of the clarity of the artwork. D-max 4.0 is ideal for stencil making, as it allows full exposure of non-image areas even if the artwork medium is cloudy or fogged.