The first color printed.
The principal of reduction prints is that the artist uses just one screen. He prints the first color of the whole edition after making the first stencil. Then he must rework the stencil on the screen and print each additional color over the first. The printing area of the screen is reduced with each color to that small area which will print the final color.
I modify this technique by using a temporary blockout, made with Future floor wax. I can remove this without disturbing my original screen filler blockout. There is more under "supplies" in my manual http://www.dorothymarkert.com/my_manual.htm.
In this print "first color printed" all of the darker color is tan ink. The lighter color is the paper.
The first stencil that I made on the screen includes all of the areas that will be any color other than the paper. I printed the first stencil onto 40 sheets of fawn, Stonehenge (100% rag) paper that I cut to 10" x 13".
From now on I will use drawing fluid to paint inside the first stencil wherever I want any additional colors. Wherever I don't paint drawing fluid the tan color will show. The areas that are just paper will stay that way throughout the edition. The original screen filler will stay on the screen until I am finished with the print.
As with all printing in more than one color, registration is very important.
For collectors this technique has the advantage that even the most successful edition cannot be extended with later prints. This is sometimes refered to as the suicide method - you can never go back.
I modify this technique by using a temporary blockout, made with Future floor wax. I can remove this without disturbing my original screen filler blockout. There is more under "supplies" in my manual http://www.dorothymarkert.com/my_manual.htm.
In this print "first color printed" all of the darker color is tan ink. The lighter color is the paper.
The first stencil that I made on the screen includes all of the areas that will be any color other than the paper. I printed the first stencil onto 40 sheets of fawn, Stonehenge (100% rag) paper that I cut to 10" x 13".
From now on I will use drawing fluid to paint inside the first stencil wherever I want any additional colors. Wherever I don't paint drawing fluid the tan color will show. The areas that are just paper will stay that way throughout the edition. The original screen filler will stay on the screen until I am finished with the print.
As with all printing in more than one color, registration is very important.
For collectors this technique has the advantage that even the most successful edition cannot be extended with later prints. This is sometimes refered to as the suicide method - you can never go back.
0 comments:
Post a Comment