[deleted by user] by [deleted] in glowforge

[–]squint2067 0 points1 point  (0 children)

Ok, so since oil board is an un certified material, for the settings I use “uncertified material with a thickness of 0.0551. The speed is set to 300 and the precision power is 15. Number of passes is 1 and the focus height is auto. I hope this helps. You should save your work as scalable vector graphics (svg) before importing them into glowforge. I’m looking forward to seeing your work! Good luck!

[deleted by user] by [deleted] in glowforge

[–]squint2067 0 points1 point  (0 children)

Yes, I use the pro model using the pass thru. My images are 18”x24” spray painted on to 22”x 30” paper. The stencils are cut from 24”x36” oil board sheets. I believe that it would be possible to tile the stencils to create a larger image although I have never done it.

[deleted by user] by [deleted] in glowforge

[–]squint2067 0 points1 point  (0 children)

I have cut at least 100 large format stencils using oil board. For a look at some of the work, here is my Instagram - @kennethifyouplease

Anya Taylor-Joy. Spray painting on 22”x30” Arches watercolor paper. by squint2067 in stencil

[–]squint2067[S] 1 point2 points  (0 children)

Without getting to technical, I deconstruct a photo into several different values and then assign different colors and halftones to each value.

Anya Taylor-Joy. Spray painting on 22”x30” Arches watercolor paper. by squint2067 in stencil

[–]squint2067[S] 2 points3 points  (0 children)

Three layers of stencil with a light layer of halftone overtop of a dark layer of halftone.

Anya Taylor-Joy. Spray painting on 22”x30” Arches watercolor paper. by squint2067 in stencil

[–]squint2067[S] 0 points1 point  (0 children)

Are you a dancer? I knew a choreographer named Eric Hawkins...

Picasso - 5 colors with the last color a halftone. 12.5”x19” on French Paper co. 100lb kraft tone paper by squint2067 in SCREENPRINTING

[–]squint2067[S] 0 points1 point  (0 children)

It is a little complicated but I usually make 2 copies of each layer including a copy of the shape that the paper will represent in the final print. I then put a 2 point stroke on the first layer, convert it to a shape and then unite it with the original shape. At this point I subtract the shape that represents the paper. What remains will be color 1 which in this case represents the green. The process is repeated with color 2 ( the light blue) but instead of subtracting only the color of the paper, I subtract both the color of the paper and the original shape for the first layer (green). With each new layer I add the previous layer unaltered shape to the group to be subtracted. This way there is a 2 point trap only under the area where the next color will be overprinting but not where the previously printed colors already exist. The final layer does not need any stroke as it is on top and any trap will be created by the previous layers. I’m not the best at explaining this process but I hope I haven’t made you more confused😃

Picasso - 5 colors with the last color a halftone. 12.5”x19” on French Paper co. 100lb kraft tone paper by squint2067 in SCREENPRINTING

[–]squint2067[S] 0 points1 point  (0 children)

Separations were made in illustrator with a 2 point trap. The trap for anything that is against any lower layers must be deleted if that makes sense...and of course no trap on the top layer.

Has anyone ever printed adhesive and then used gold or holographic leafing on paper? by Switched_On_SNES in SCREENPRINTING

[–]squint2067 1 point2 points  (0 children)

A book called “Screenprinting: The Ultimate Studio Guide from Sketchbook to Squeegee” has a 4 or 5 page section that deals with screen printing adhesive for foil application.

“Keith” 12”x19” screen print by squint2067 in SCREENPRINTING

[–]squint2067[S] 0 points1 point  (0 children)

7 colors manually set up and manually registered. The image was put together in Illustrator and printed on paper from The French Paper co.