This year I followed the official prompts, but translated them through skulls and bones. Enjoy.
Since I have been cutting elements out of prints for the shadow boxes I thought it would be fun to make these compositions with the repetitive elements.
My open edition mini-prints are available in the Arts District in New Orleans at BRAND!
Happy to announce that my work is available for purchase at the Funeral Gallery, in the French Quarter in New Orleans, Louisiana.
In making the current body of work, a repeating figure is starting to make it's way in my sketches and prints. I find myself asking how illustrative I want to be. Should I lean into this idea and see if it's got wings, or should I pull focus and keep the narrative in the realm of implied metaphor?
I don't know yet. My intuition tells me to go ahead and explore it, and embrace the fact that I am a walking cliché.
I have made these four images as a set that illustrates an internal dialog. Should they stay together, like Warhol's soup cans, or is it ok to break them up so that they have their own breathing room?
A quick overview of the color separation process with screen printing (aka: Silk screen, & serigraph) For a more in-depth study check out the Screen Printing Glossary (here) by the American Screen Printing Association.
The body of work that I have been developing is somewhere between the realm of traditional "analog" art and digital collage. This process fits my goals well. I will write more about the content of the work on a later date, but for now I want to show the process.
The first step is to get an image that you want to print. For me that means making a digital collage in Photoshop.
Below is a crop of one of the collages, showing 3 of the 5 eggs that will make the composition. I am trusting you, internet, not to take this image and claim it as your own. Don't do that. That's rude. Besides, it's a rough one, not very refined, you can do better.
Next you have to separate the layers of your image into the CMYK layers. C for Cyan, M for Magenta, Y for Yellow, and K for key (or black). This is a standard print setting. For images that are digital, and going to stay that way, many artists make the work in RGB mode (Red, Green, Blue) which is most appropriate for how colors are combined in light to make a full spectrum. Many dancers or theater folks understand color theory when it comes to light and how it's very different than color theory in physical pigment.
Once the colors are separated into their own layer files they will look black. This is to give the viewer an idea of where the color pigments sits on the surface of the canvas (the substrate... can be paper, background, etc). For screen printing you need to then convert these files into a bitmap. That will simplify the image in to a series of dots or ellipses. During that conversion you have to change the direction of the dots so a pattern wont appear as a result of the layering and threads on the screen. You also have to consider the thread count of the screen you will be using, and the level of detail in your image. That will determine the dpi (dots per inch) of the bitmap. For mine, I have a 305 thread count screen, and a lot of fine detail and color mixing to do so I put the dpi at about 175 (a little more than half the thread count is a good general guide line). I am using a toner printer, not a large format photo printer. This is about as good as I can get it, but using a large format printer would give one better results.
Next the layers are printed out on transparent film, and burned into the coated silk screen.
It would benefit you to label your layers, especially of they don't look very different from one layer to another. The black toner will block the light from exposing some areas of the coated screen. Once the emulsion is done hardening from exposure to light, you rinse out the screen which will reveal the parts that were protected by the toner. Those areas will wash clean.
Next, I generally try to print the image by starting with the lightest color, and building to darkest. Below are images of two prints in progress that already have the yellow, and cyan layers on them.
And there you go. I hope you found this process post interesting. Please feel free to reach out if you have any thoughts or questions! Thanks for reading.
Dear reader, I feel that I owe you an explanation. This blog has been neglected... for that I am sorry. The flood in August 2016 hit my home and studio right after I completed my MFA and most of my work was lost. It has taken about a year to get back on track, and rebuild the studio. Now it's up an running and I will post process images/explanations more frequently! Here's some things I've been working on.
This is Blackberry Kitty. The story behind this illustration comes from my childhood. When I was young, I used to go on foraging expeditions in the woods near my house. At the time I had a litter of kittens that would follow me around like the pied piper. They'd all come with me, catching worms and guarding me against monsters along the way. This drawing was entered into an international call to artists based out of India, for a portfolio exchange put together by the International Print Exchange Program. This year's theme is "Homeland". My drawing was selected for participation, so now I get to work on turning it into a print!
This was an experiment from a prompt to use recycled materials, or things that were going to be thrown out. I used some flowers from my front yard that were dried up and about to be tossed. I blended them, strained them, then used the dyed water to paint a piece of cotton paper.