Hey guys, I had some requests for a process thread for one of my new prints, and I remembered to keep my camera around during the making of this last one. The four color layers done using the hand reduction technique, and the two varnish layers were hand drawn on transparent mylar using a pigmented brush pen and exposed onto screens using the more typical screen printing photo process.
Here's the initial drawing, which is used as a guide for the rest of the process. Holes are punched into all of the paper to be used for registration. To draw all of the big circles I tie a pencil to a string, tie the other end of the string to a push pin and push it into the center of the image. It isn't perfect but I gradually improve the circles and intersections of the geometry as I progress with the print.
After I get that figured out, I will reconstruct the grid in Illustrator. Sometimes I will work out the design in Illustrator first if it is more complex, just because it's faster to make alterations and consider different possibilities for the design.
I always work out the colors in Photoshop using the grid from Illustrator. I borrowed the color scheme from what I saw in various Tibetan mandalas. Yellow, Green, Blue, and Red will be printed using the hand reduction technique, the tinted and shaded areas will be fleshed out in detail and printed using glossy varnish. If I were printing out the photoshop layers to create films, I would perfect them, but for just figuring out the colors it's a waste of time to make the seps perfect
Here's the first printed layer using hand reduction. I use the set up sheet as a guide for which areas to block out on the screen
I'm in the middle of blocking out the second layer right here
This picture isn't from the making of this print, but it shows the process of applying screen filler to the screen. I use a brush to block out the larger areas
It's all blocked out here, printing green next.
Second layer done. For registration, we have pins which fit the registration hole snugly. They are taped onto the printing platform and don't move. The screen also doesn't come off of its hinges during the hand reduction process. Between runs, I would stack my prints and put some flat wooden boards on top, to flatten them out from the waviness caused by printing water based ink on paper.
In the middle of blocking out the third layer
Done with that. The screen filler must be heat set with a hair drier on both sides before it can be printed on
Here's the blue printed
Blocked out the last layer for the hand reduction portion
And here it is printed. This photo also shows the first glossy varnish layer printed.. more on that next
Here I'm beginning the drawing for the glossy white varnish layer onto a transparent sheet of Mylar. I'm using a PITT Artist Pen with the brush tip for the edges of lines and a huge black Sharpie paint pen for filling large areas, but anything containing pigmented or India ink in it will work for blocking out light when you expose the screen. I taped the mylar sheet onto my setup sheet for transferring the important intersections and lines without redrawing the entire thing
Here's the finished film.
Here is the film burned onto the screen, with one of the actual prints under it so I can make a more precise stencil by blocking out edges and mistakes with screen filler.
Here are some various stages of development for the tinted glossy acrylic varnish layer. I taped it on top of the previous Mylar layer and the set up sheet
Here it is finished...
...burned onto the screen and blocked of pinholes/ sharpened...
..print it up and here's the final product! The print is 22 x 22 inches and an edition of 20
I plan on hanging them tiled when I get the opportunity, like so
I made several prints on some special paper I found at Asel's Art Supply and posterboard (I may print some more of this first one, I only made 3 and I was very happy with how it turned out)
And there were a few more one offs printed on colored poster board that I will post up once I get them back from my professor. Thanks for reading!