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A summary of basic screen printing procedures is given, covering the main factors in quality control. These include: various means of controlling thickness of deposit; the approach to printing extra fine line work; the mechanical characteristics of different types of squeegee and their practical effects; maximum print areas and print gaps in relation to screen sizes. The paper concludes with a detailed faultfinding chart with recommendations on the remedies to be adopted.

Law on the screen goes beyond film. It takes us to the domains of mind and culture, power and politics, technology and rhetoric, and the changing contours and norms of professional practice, craft, and pedagogy. Law on the screen is a multidisciplinary affair. It embraces empirical/descriptive, political/normative, and jurisprudential/theoretical dimensions of scholarship. By codifying what we know and how we know it, culture and technology mimic the regulatory force of law. But just as law is shaped and informed by technology and culture so, too, are technology and culture shaped and informed in turn by law's power to regulate. Code is a two-way street. Who gets to design the code, how, and with what effect? That is the political question par excellence of our day.

Basic properties of screen materials are defined, with a study of different mesh formations and coatings and their effect on the printed image. Detailed specifications are given for a range of stainless steel, polyester, and nylon fabrics. A table then summarises recommendations for specific thick film applications such as conductor tracks, fine line conductor tracks, resistors, solder paste deposition, dielectric layers, and overglazes. The requirements for the artwork and photopositive are examined, with recommended procedures for exposing and processing the mask. The survey concludes with notes on other factors which commonly influence quality at the print stage.

The National Council for the Social Studies (NCSS) has called for the development of a media literacy framework that goes beyond content analysis into investigating media forms. The M.I.T.S. framework, which stands for main ideas, images, text, and sounds, is inspired by the conceptual work of Marshall McLuhan (1964) and other media ecologists, who recognize screen media tends to generate different sensory responses from audiences when compared to print. The framework encourages students to carefully analyze the various aspects of screen media by isolating each dimension and examining it separately. The goal of the analysis is to foster students’ awareness of how screen technology may evoke unique responses compared to print by playing upon different sensory perceptions. Ultimately, this can facilitate students taking a more critical perspective toward screen media and the various persuasive devices they regularly encounter. Recent political commercials are used to introduce the framework. Extensions and other practical concerns for implementation are also discussed.

This paper describes the main objectives of the ELISE project and the methods by which a prototype imagebank of 3,000 items was created, with particular emphasis on the processing of images and the reactions of users. Existing colour transparencies and 35mm photographs were converted to PhotoCD before transferring images to magnetic storage. A prototype user interface was written in VisualBasic and the reactions of users in the Victoria and Albert Museum and De Montfort University were obtained through small controlled tests and by questionnaire. Although funded as a feasibility project, the partners are considering the next stages in moving towards a fully operational service.

Screen printing is widely used in electronics production and is the characteristic process of thick film manufacture. The correct choice of screen is most important if good quality prints of the correct thickness are to be achieved. Mesh and emulsion characteristics and the screen imaging process are discussed.

Silk screen printing is a much used method of producing the required images on printed circuit boards. This paper discusses in detail the techniques and limitations of the process.

Screenprinting has formed an integral part of the manufacturing process for PCBs since the first boards were produced. This paper describes the types of product used, the areas of application, and suggests methods for obtaining the best results by exploring printing parameters and indicating methods of optimising them to minimise faults.

In the contemporary society, new digital media play a key role in organizing both companies and the public sector, as well as public transportation systems in metropolitan areas and similar technological macro‐systems. Humans are encountering digital media through the screen but the underlying mechanisms and structure of the screen, their screenness, remain relatively poorly explored in organization theory. Literature on new media, visual studies, and studies of financial trading is used with the aim of presenting a case in favour of a more integrated understanding of the role of screens in organizing, unearthing screens and portraying them not as insignificant elements of a dull infrastructure but as key components in the day‐to‐day organizing of firms and social space.

The paper draws on secondary literature addressing the role of screens and screenness in everyday organizing.

Drawing on a study of financial trading, screens are envisaged as the surfaces on which the financial traders' life‐worlds present themselves and are enacted, rendering the abstract flows of capital and innumerable financial transactions meaningful and tangible through the use of certain aesthetics and geometries of representation.

The conceptual paper combines literature from a number of disciplines and theoretical perspectives.

Over the last few years, the increase in size of printed circuit boards, together with the increase in density of components, has made successful application of soldermask by conventional screen printing more and more difficult. This is despite improvements in both the screen printing resists and the equipment used. The accuracy produced by the photo‐imaging technique has been firmly established with the now almost universal use of dry‐film resist for the plating and etching of printed circuit boards. This led to the introduction of the dry‐film soldermask, but, unlike the dry‐film resists used for plating and etching, this type of soldermask has failed to gain universal acceptance, mainly because of technical shortcomings and high costs. The application of liquid soldermasks overcomes many of these technical problems, although the first attempts to achieve acceptable results required special equipment and huge capital investment. Photo‐imageable soldermasks which can be applied using the conventional printing and exposure equipment, available at printed circuit manufacturers, are now available. Some are processed in aqueous solutions, whilst others are processed in halogenated solvents of the types used in the processing of dry‐film resists. The introduction of such soldermasks makes available the combined advantage of liquid application and photo‐imaging, which will increase the overall quality of printed circuit boards produced, while utilising existing screen printed, oven, photo‐exposure unit and conveyorised spray developer.