Final assignment; open-ended. I chose to venture out and explore the half-tone process of applying photographic images onto the screen printing process.- 11"x15" BFK Rives
- 1-colour
Monday, January 9, 2012
"The Deer Factory"
Final assignment; open-ended. I chose to venture out and explore the half-tone process of applying photographic images onto the screen printing process.
"Wanderlust"
Fourth assignment, a landscape. Although it was printed crookedly, I ventured out into an entirely cool-coloured palette. - 11"x15" BFK Rives
- 3-colour
"Mandragora"
Third assignment, an abstract design. One of my personal favorites!- 11"x15" BFK Rives
- 3-colour
"Just Desserts"
Second assignment; a narrative. First experience with registration of multiple layers. - 11"x15" BFK Rives
- 2-colour
"Melora"
My first assignment in Screen printing way back in Spring 2010.
- Printed on 11"x15" BFK Rives
- One colour print
An Intro, A statement
Hi everyone! Thank you for checking out this blog on mine. It has taken me a bit to jump on the online blog community, especially at an evolution stage in my self as a person, and artwork.
I am currently in my second year into my concentration in printmaking, and I am nothing short than in love with the courses. Funny story how I got into this concentration: I first applied to a fancy local art school where I planned on majoring in Illustration; however one thing led to another and my application package arrived past deadline and I gots rejected, lul. So off I went to my second choice school; a university with a swell tight-knit art department with the coziest little printmaking studio ever. I haven't looked back since. Hey, printmaking is also an illustration means in its own right, so not much of a loss there. As of now, I have taken screen print, intaglio, and monoprint.
A little information on printmaking. There are basically five (5) major categories of this umbrella term that spans into different techniques and processes. There is
- Screenprint or if you're old school 'silk-screen' or even older 'serigraph'
This is a stencil-process with uses fabric screening to maintain stencil elements. By this, of course, you can apply your nifty little transparency of artwork to your freshly coated emulsion screen and fire away in the light exposer. Things can get rather trickier when you deal with registration for multiple transparencies (colours, or stencils.) Perhaps the most commercial of the printmaking processes.
- Intaglio
This process is also an umbrella term for its own various techniques; but basically you use a metal plate (zinc, copper mostly) for image-making. From there you can use etching; where you coat the plate with a acid-resist hard ground. After it dries you can draw directly with your etching needle and once satisfied you throw that sucker into a cozy acid bath where the exposed metal (via what you've scratched in) gets eaten. From there you print normally, and boy-howdy do I love the plate embossment that the intaglio process entails.
There is also drypoint, where you literally draw with your etching needle to get your burrs and fuzzy black line quality. You can also try scraping, and burnishing for various textures. Good stuff. There is also mezzo/aqua tint ; but my class did not have time to explore those quite yet.
- Relief
Ah, relief. In theory, it is a rather simple process. Here you may use either wood as a matrix (woodblock), or linoleum (lino-cut). The goal here is to cut away ( using things like gauges, chisels, etc) these surfaces to create raised information that will receive the ink and thus be printed. I'm taking this class this spring! Excited.
- Lithography
I don't have experience in this process just yet, but it is a process in which ink is transferred from a flat surface (originally began with stone slabs) that has underwent rigorous chemical preparation that goes along with the theory that water and oil repel one another So, with a constantly moist surface and constant application of ink rolling, only the drawing you applied with a litho crayon (oil based) will accept the ink (also oil based.) Yeah. It's perhaps one of the most labor-intensive printmaking techniques according to some, but you get some pretty darn good stuff.
- Monoprint (or Monotype)
I'll end with this process. Here it is more free-form and simplified than previously mentioned. Basically you can freely paint through additive, substractive methods paint on a inked surface and printed on paper. You may also incorporate collage, stenciling, xerox transfer and even a combination of all! Like I said, it's totally open.
A little information on printmaking. There are basically five (5) major categories of this umbrella term that spans into different techniques and processes. There is
- Screenprint or if you're old school 'silk-screen' or even older 'serigraph'
This is a stencil-process with uses fabric screening to maintain stencil elements. By this, of course, you can apply your nifty little transparency of artwork to your freshly coated emulsion screen and fire away in the light exposer. Things can get rather trickier when you deal with registration for multiple transparencies (colours, or stencils.) Perhaps the most commercial of the printmaking processes.
- Intaglio
This process is also an umbrella term for its own various techniques; but basically you use a metal plate (zinc, copper mostly) for image-making. From there you can use etching; where you coat the plate with a acid-resist hard ground. After it dries you can draw directly with your etching needle and once satisfied you throw that sucker into a cozy acid bath where the exposed metal (via what you've scratched in) gets eaten. From there you print normally, and boy-howdy do I love the plate embossment that the intaglio process entails.
There is also drypoint, where you literally draw with your etching needle to get your burrs and fuzzy black line quality. You can also try scraping, and burnishing for various textures. Good stuff. There is also mezzo/aqua tint ; but my class did not have time to explore those quite yet.
- Relief
Ah, relief. In theory, it is a rather simple process. Here you may use either wood as a matrix (woodblock), or linoleum (lino-cut). The goal here is to cut away ( using things like gauges, chisels, etc) these surfaces to create raised information that will receive the ink and thus be printed. I'm taking this class this spring! Excited.
- Lithography
I don't have experience in this process just yet, but it is a process in which ink is transferred from a flat surface (originally began with stone slabs) that has underwent rigorous chemical preparation that goes along with the theory that water and oil repel one another So, with a constantly moist surface and constant application of ink rolling, only the drawing you applied with a litho crayon (oil based) will accept the ink (also oil based.) Yeah. It's perhaps one of the most labor-intensive printmaking techniques according to some, but you get some pretty darn good stuff.
- Monoprint (or Monotype)
I'll end with this process. Here it is more free-form and simplified than previously mentioned. Basically you can freely paint through additive, substractive methods paint on a inked surface and printed on paper. You may also incorporate collage, stenciling, xerox transfer and even a combination of all! Like I said, it's totally open.
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