And 110 mesh is mostly always white.(MAISHI WIRE MESH MANUFACTURE GROUP. can also supply yellow color of 110 mesh) White mesh causes the light to bounce off and scatter in the exposure unit when burning your artwork. This can affect your ability to render detail as well. This will always occur with white mesh of any thread count. Having a point source exposure unit is better for fine detail and halftones as well.
An easy way to obtain the details you want is to move to a higher mesh count(like 195 mesh or 230 mesh). Once you get to 200 mesh counts or above, they are most often dyed yellow. The mesh is dyed in order to eliminate or reduce the light scattering effect of white mesh. To render fine detail or halftones a dyed mesh is preferred so that stray light is actually absorbed into the dye, rather than bouncing around.
Working with higher mesh counts that are dyed is a little different in a few aspects. It is less forgiving all around.
MAISHI WIRE MESH MANUFACTURE GROUP. has some important notes to remember with higher mesh counts and dyed mesh:
v The dyed mesh will increase your exposure time.
v Pinholes and premature stencil wear or breakdown can be a problem if the screen is not well prepped for coating with emulsion.
v The thinner stencil, necessary for fine detail, wears quicker over longer print runs.
v Higher mesh counts hold less emulsion creating thinner stencils. Strong adhesives like tape can pull the emulsion off of the mesh thus ruining your stencil. Proper mesh prep can eliminate this as well.
v Halftones need to be created specifically for the mesh count being used to avoid moiré patterns.
v Higher mesh counts generally cost more.
v Higher mesh counts are harder to stretch without tearing or popping.
v If you choose your mesh appropriately for the artwork you are printing, then you will have an easier time achieving your end goal.
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