The final outcome
The final outcome
One of the difficulties I was having with the prints was how to incorporate the colour yellow. The pink and the blue made up the sides of the architecture in the print. And the yellow was just randomly through in. It wasn’t until I ripped some paper and decided to print the texture of the edge. I was inspired by all the other printing process in the print room, and how the other students were printing with textures and I thought I could incorporate a texture of my own into the print.
The final prints
The mono-print presses I had been using only printed on A3. When it came to planning out the final prints because I wanted to go bigger I was inducted on the large lithography machine so I could print larger mono print. The plate/ printing area was 56×65 cm so the longest I could print was 60 cm for each sheet of paper. I had to re-draw the dimensions of the drawing so I could fit 6 horizontal A3 into 4 65×56 sized paper. To make sure all the prints fit I had to turn some of prints vertically.
Some process pictures of how I would lay out the prints and print them.
Before printing my final prints I did some practice run to see how they would print. Including, that I tired out how to use the yellow in the print. However, looking at the prints and the yellow wasn’t working. The only print where I thought the colours were successful were the last two prints below because the function yellow had a function. In the stairs print the yellow is the floor and in the skyscraper print the yellow shapes are also skyscrapers. But I also realised from these prints that the yellow was acting like sunshine.
As I preferred the style of illustrations from my first screen-prints I did some more sketches during my walk home.
Before heading into the print room, I digitally drew them to test out some layouts. I wanted to see which illustrations I liked the most to represent the architecture on my route home. I also wanted to see which combination worked best when arranged. To see which illustration worked well next to one another and to see if I could create a continuous image with them.
Through this process I noticed that I wasn’t a fan of the yellow. The problem was that the yellow didn’t have a function in the print. The pink and the blue are the sides of the buildings, and the yellow was just randomly placed in because I wanted to lay the yellow over the pink and blue to create new colours.
This is the final combination, I think it is the best combination because the images flow nicely into each other. Including that out of all the sketches these were the best illustration.
I did some digital drawings before heading into the print room. To test out layouts and to create the visuals I was going to print. But I realised I didn’t like what I was doing. I wasn’t a fan of the forms I had created. So when I took some of the illustrations from my first screen-prints and combined both styles of drawing I noticed I preferred the screen-print illustrations to the new ones.
The White Cube
‘I want to have optical movements, disturbing things; such visions that your eyes would be disturbed when you see them.’
I visited the White Cube gallery which was hosting the work of Beatriz Milhazes one of her works was a long tapestry. This work of art attracted my attention because I had just decided to do a panoramic print. I could experience how it would feel when someone walks along your work. I wanted to create a long print because I wanted the audience to move along the print as if they were walking the same route home as I would.
DEVELOPMENT OF THE MONO PRINTS
The following week I returned with the same idea of how to collect the shapes to print with. I pictures of my route home to collect the skylines of the architecture along the way. I was cutting the stencils in the print room so I was designing and thinking on the spot. Instead of just using the shapes I cut out of the paper I also used the newsprint where I cut the stencils out off. What I liked about the prints where that the shapes created, through the layering of colours, more depths and dimensions in the print. However, I wasn’t a fan of these prints. I felt like they weren’t working.
Studio Session/ Tutorial
At this point in the project I am a little lost. Even though, I was still creating visuals through screen-printing and mono printing I wasn’t sure what the aim was of my prints. Including what my visual really were. I was advised to take a step back and take in all the prints and not look at them individual but as a whole. I then realised that my prints were taking me on a journey, with the buildings, sunshine, shadows and open spaces. I took the viewer on an abstract journey of my walk home.
As part of my development for this project, was looking into the the affect of colour. After research about Josef Albers theories for colour interaction. I returned to the print room to see how the colours would react with one another. Before finalising my colour scheme I tested how over lapping colour would react with one another. And I wanted to see which colours I liked the most when they were layered over each other. From testing how the colours reacted with one another I most preferred how the pink, blue and yellow reacted with one another.
I went into the screen-printing studio to test which colours I preferred the post when printed together. At this point in the project I had created visuals in both the screen-printing and mono-printing process. I preferred how the colours printed in mono to how they printed in screen. But I still wanted to test how they reacted with each other in screen-printing because I thought that was the process I wanted to print my final outcome with.
Initial I thought that I had chosen my colour scheme subconsciously but I realised that my surroundings had an influence on my decision making.
I was advised to try out mono-printing because in the screen-prints I kept printing small white gaps between the layers. Due to the way mono presses prints this could be avoided.
It was my first time using the mono press to print. The best part of the process is that the ink doesn’t dry quickly. So with each new layer of colour I could take my time to prepare the stencils. Including, that I was able to register the prints perfectly.The only difficult part of this process is rolling out the ink. If you look closely at the pink in the prints there are lines in them because I hadn’t rolled out the ink probably. The stencils are locked into place meaning there wouldn’t be gaps like in the screen-prints.
How I got to my visuals was by looking at the architecture that surrounds LCC. I traced the skylines I saw outside the window. I layered the different skylines of the Elephant and Castle roundabout. At the bottom of the print I added a yellow strip. In the first print the shapes weren’t registered perfectly but it was a happy mistake because I saw the effect the yellow had on the other colours. Similar to screen-prints the colours reacted the same way. For the following prints I made the yellow strip bigger and over lapped it more. In comparison to the screen-prints I preferred the colours and ink texture to screen-printing. Also with mono printing I could get smoother layers of inks. And for the size of my shapes I wanted the ink to print a smooth layer unlike what I was getting with screen-printing.