To diversify my experiences from last year with mono-printing and etching, I opted for screen-printing.
Following an excellent presentation of technical possibilities, we reviewed an extensive range of examples of prints, covering numerous pieces produced by both, staff and students.
Tony Lee delivered a detailed demonstration of a variety of processes, while discussing alternatives to the time-typical practice. To my surprise, he also gave me all of my prints from last year’s workshop. I was astonished by this amazing surprise! Thank you Tony.
Brian Whitewick introduces us to the technical aspects of coating and developing screens. His knowledge and experience were excellent.
With his help, I was able able to achieve a crisp transfer of my images onto a silk screen.
Initially, I taped a screen and established a form of registration. I used a number of experimental techniques including masking, drizzling and flicking. I dragged the squeegee across and continuously overprinted my under-images with countless layers of harmonious colour transparencies. My creative intention was to achieve a sense of depth of colour and sensitivities of related textures. Subsequently, I used the same images as for the cyanotype workshop and developed both of the on the same screen.
Background colour considerations: