|Posted on February 14, 2020 at 4:20 PM|
Below are the actual screens themselves with the layers of art already burned into them. I think they're always exciting to look at, because they immediately look like a whole new work. They even become foreign. Once I've worked on a piece, specifically a larger detailed one, for months my brain is incredibly trained to know what this is supposed to look like and how the layers are supposed to work together. Then you see one of these screens with an odd combination of purple emulsion on yellow screens that are back lit by whatever light is on in the studio and other scraps of art visible through them in some of these photos. It's really refreshing to see them like this before I begin to print the edition.
Mixing colors is always a challenge for me, because once I've hit this stage I'm reeeeeally excited to start pulling prints. But it takes a certain amount of patience to slow down and get these colors just right. As close to the way you've planned as possible. I'm usually making them somewhat transparent so it becomes vital to the final outcome that the layers are working together correctly. And again I'm still guilty of rushing this part of the journey quite often.
The first pic here is an actual film positive used to burn the screen which I'm using for registration purposes. Then the first layer.
Now that the second layer has gone down it starts to come together and become far richer. You can see that the red is naturally transparent so the blue art underneath shines through and creates a whole new color.
This third pink layer works quite differently and is mostly opaque. So it sits on top of the red and blue and maintains its color pretty well.
And this final keyline layer is this rich beautiful purple that Jacquard makes. All of the inks I use are made by them. I really love their rich velvety texture and colors that work well together and are very screen friendly as well. This purple is also quite transparent and lets a lot of the previous layers show through.