In the years 1950 to 1960 a wooden frame, a fragment of cloth, and a squeegee which could be self-fitted, became thescreen printing process and progressed for several years.

Today everything moves very quickly. The printing in half-tones, fine detail or four color 
is becoming normal, the same in responsible industrial printing. 
The selection of colors are less expensive, as are the client’s complaints, 
with images being better printed. 
Agencies and direct clients require their work to be more and more complete. 
The screen printers who will not get away from basic techniques – only flat prints – will be losing a number of steps, the same for small quantities, to the profits of direct competitors or other existing procedures or those in the future.

This challenge presents itself in a profession that heard of the craft through ‘hands on experience’ much as an author presents his work rather than as taught in schools.

Each screen printer has his their own appropriate knowledge of printing 
but they must never pretend that all printing should be done with the same raster, especially if it is very fine, nor with the same type of screen. 
It is evidently more difficult to master a fine raster on a small format, 
than the same raster on a large poster. 
The screen printer should therefore know how to choose the dot count as a function of the viewing distance, of the support and from the quality researched, of its performance: 
Such are the different choices.

In order that the printing is perfect, it is necessary that all the ideal conditions 
have been brought together: 
a good film corresponding to the printer’s capabilities. 
The dot count and viewing distance, the dot shape, compensation, choice of a good emulsion 
or a good film, perfectly tensioned threads, ink modified to the ideal viscosity, 
squeegee correctly sharpened and angled, hardness carefully chosen, speed of printing 
measured carefully, pressure balanced and evenly distributed, off-contact precise etc. etc…
And as well as other elements which have been analysed and studied in subsequent detail.

All these fundamentals seem evident, the screen printer is generally acquainted with them, 
but, how do you explain that with the same material certain prints can be made with fine dot counts, (100, 120 and even 150 lines per inch) and with others it is not possible to print with dot counts of 30 lines per inch.

The common point of these serilor®LOG, PRINT CONTROL and MOIRE STOP products contained in this folder is that they allow everyone to appreciate his own level of technical skill, 
and consequently, to improve upon it.

It is the same if you are already skilled in part with the printing variables, but is is not compulsory for your fellow workers apprentices and other people under instruction.

It is also essential that each of the participants knows his level of inventiveness, and the complete operating procedures, and the part they play in the work. 
The printers are not the only ones responsible for the problems of printing.

Finally, the steps that the author utilises are visual and self-teaching, 
without having to call on any knowledge of pure theory.

The serilor® log kit, PRINT CONTROL and MOIRE STOP concerns equally the photo-engravers and their digital counterparts, who wish to show more interest in the process of screen printing.

The serilor® log kit will be something that you can forget: or it can be put wisely in a ‘bottom drawer’, where it contributes to the decisive workings and improves your results, if you have used it as per the instructions. In this case you will have considerable benefits.

The 2002 version of the serilor® log kit, print control and moire stop includes 22 tools 
intended for use with graphic, textile or industrial screen printing.

The serilor® log kit includes a collection of films which have either a direct or an indirect 
worth in the tests, and they are intended to measure the variables in printing, 
their interaction and the limits of each.

The serilor® log kit is used in a number of teaching schools in Europe and the United States 
and also by a number of suppliers to the industry who use it as a 
‘standard ‘ of quality in screen printing.

One user who is well experienced with the serilor® log kit has stopped the ‘suffering’ under conditions which are always changing in the art of screen printing. He masters the controls and lays out in order all the various parameters, before beginning with those for the pre-press. 

Control kit, from the measuring and from the self make-up 
for screenprinters of industrials, graphics and textiles.

The degree of moire, this undesirable phenomenon is now ‘ringfenced’. 
Nothing to calculate for all is visual.

You will already know precisely, the details of the raster and the screen that you are going to use (see tools above mentioned), so it is sufficient to superimpose the two corresponding films and you can immediately visualise the extent of moire on the 4 colors at the same time, 
with all the standard angles of photo-engraving.

Control kit, from the measuring and from the self make-up 
for screenprinters of industrials, graphics and textiles.

Descriptive summary of some 22 tools which make up the serilor® log.
Control kit, from the measuring and from the self make-up 
for screenprinters of industrials, graphics and textiles.