Start herePaper is not textile with a different substrate
The same halftone maths applies, but the numbers change: paper holds finer dots and a wider usable tonal range on the same mesh than a knit or woven fabric ever will, because there is no fibre to swallow the ink.
Screen printing on paper
How paper differs from textile: finer mesh, higher line frequency, far less dot gain, wider tonal range, with the settings and a chart.
Read the guide →Halftone films without a RIP
How browser-based screening replaces a RIP for spot-colour work.
Read the guide →Get the numbers rightMesh, LPI, exposure and moiré
Paper is more forgiving than textile on the same mesh, which means you can usually push the line frequency higher — but the same four numbers still decide whether detail holds.
Mesh to LPI calculator
Free tool. Enter your mesh count, get the line frequency, smallest printable dot and usable tonal range for paper or textile.
Open the calculator →Exposure calculator
Free tool. One test film, one screen — work out correct exposure time without guessing.
Open the calculator →Step wedge generator
Free tool. Printable step wedge to read your screen's real exposure latitude.
Open the generator →Mesh count to LPI chart
Line frequency, dots per cm², smallest printable dot and usable tonal range for common mesh counts, textile and paper.
Read the guide →Moiré is a ratio problem
Keep mesh at roughly 4½ times your LPI and the angle at 22.5° — how to spot which one bit you.
Read the post →Why halftone dots wash out
The four causes, in the order worth checking, and the mesh-thread-count table behind them.
Read the guide →Prep your artworkPositives, separation and file prep for editions
Tracing paper vs PVC film for positives
Why tracing paper prints a weaker black than PVC or PET film, how to fix it, and when dedicated film is worth the extra cost.
Read the guide →Color separation for screen printing
How artwork gets split into spot-colour layers, one film per ink, ready to expose.
Read the guide →Prepare your artwork for your mesh
What resolution, line weight and detail level actually survive a given mesh count.
Read the guide →AI prompts for screen printing
Getting an image generator to produce art that separates cleanly for an edition.
Read the guide →Transparent inks and overprints
What happens when two spot inks overlap on paper, and when transparency is the effect you want.
Read the guide →Print the filmsDriver settings and file formats
Printer settings for screen-printing films
Media type, colour management, ink limits — the driver settings that print a truly opaque black.
Read the guide →Printing films on an inkjet
What to look for in a desktop inkjet and film stock for screen-printing positives.
Read the guide →PNG or EPS for your films?
What each file holds, where each works, and why an EPS export here is not a vector.
Read the post →On pressRegistration for a multi-colour edition
Align the marks, not your eyes
Why registration drifts — a flipped emulsion side, the wrong print order, an unlocked screen — before you ever touch a squeegee.
Read the post →The file is not the stencil
PrintFilmReady's job ends at a perfect 1-bit file. Whether it becomes a working stencil is exposure and emulsion.
Read the post →Separate your first edition free
Up to 3 inks, 360 dpi, 3 jobs, every feature on — enough to print real films and judge the dots on your own press.
Pro: €99 a year or €59 for half a year, launching October 2026. Full pricing →
Open the toolCommon questions
How is screen printing on paper different from textile?
Paper holds finer dots and a wider usable tonal range on the same mesh, since there is no fibre to swallow the ink the way a knit or woven fabric does. That means less dot gain and usually a higher line frequency for the same mesh count. See screen printing on paper.
Should I use tracing paper or film for my positives?
Film prints a denser black and holds finer detail; tracing paper is cheaper but needs denser printer settings to compensate for its weaker opacity. See tracing paper vs PVC film.
What mesh count should I use for a fine-detail art print?
Finer than you'd use on textile for the same image: paper's wider tonal range and lower dot gain let a 230 or higher mesh hold detail that would clog on fabric. See the mesh to LPI calculator for exact numbers.
What does PrintFilmReady Pro cost?
€99 for 12 months, or €59 for 6, both auto-renewing with a 14-day refund. Pro launches October 2026; the free tier works today with 3 inks, 360 dpi and 3 jobs, no account and no payment required. See full pricing.
Screen printing on textile →
Garments instead of paper: underbase for dark shirts, ink mixing, coarser mesh for wash durability.
See the textile guide →Lino & block printing →
No mesh, no halftone maths — solid carving guides at exact block size instead.
See the lino guide →Want hands-on training?
Academies, workshops and rentable open-access studios by country.
See the training directory →