Looking back over my body of mono prints definitely helped refine the ideas for my screen print. I selected one of my roller prints on acetate and used this as a basis to work from. After editing a scanned version on Photoshop, an A2 sized image was made and exposed onto a screen. The prints were effective but were host to a number of problems. The original mono print that I used to create the exposed image spanned two different tones of ink, resulting in a two-toned image. When relayed onto the screen the darker panel on the left is too dark, the overlaid text is barely visible at all. There is also a clear line in the middle of the image from where two of the repeating images do not quite touch; drawing attention to the mistake with a dark line across the centre of the print. Also, for the purpose of testing the image, this print size is too small. What proved more successful however was the use of a smaller squeegee on the screen to create freehand prints. The process of pulling the paint through the screen by hand means that each one is full of imperfections, unexpected tonal ranges and ink spots. Each one is unique and picks up traces of the print made before. And after a number have been made, a full print of the whole screen reveals another distorted image, including traces of all the previous prints. I would like to continue with this way of working with the intention of making a series of these types of prints. After making the changes to the original image that I used I made a screen of double the size. I also made another image that consisted of just the letter forms that had been extracted from their background, to use as another layer over the top of the larger screen. The resulting printed image is much clearer, although I am still undecided if the darker panel on the right has now been lightened too much. What does help this is the extra layer of the letters printed over the top of the original ones which emphasises them against the background. I am also undecided about the composition. There is the possibility of splitting the image and turning it into a diptych, the two separate panels related but not touching- perhaps giving more room for each side of the image to breathe. Although these prints remain as works in progress there is lots of potential that can still be developed to eventually resolve them.
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AuthorThird Year BA Hons Fine Art student studying at Falmouth University Archives
April 2017
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