NEO:Artists – Artist in Residence: Day 12

Day Twelve – 26th March, 2017:

Hey! Today has been pretty productive..    I’ve managed to take a bunch of photos attempting to capture movement and motion within architecture.   Fortunately, the weather has been absolutely banging today, yet again.   Nice clear skies.   I’ve made a little showreel of all the images I have, kinda just to watch a see the movement, not really for anything other than that.   Not something I would show anyone.    Anyways,  in the PM, Naomi and I went a did a little ASDA shop, bought some tasty munch!!  I then came back to the studios and met an awesome photographer who goes by the name of, Radoslav Daskalov (http://www.neoartists.co.uk/gallery.asp?stuID=1074) He’s a really nice dude, awesome concepts in photography, challenging the established conventions of photography and its place in the art world. Really genuine guy.   Bless!   So I finished off creating the 3 minutes long process video for how I create my Etchings (offset embossings).
I’ll just explain now in text the kind of routine that I go through when creating my Etchings. Just in case you don’t understand via the video.

To make an Etching:
1.    I put my Paper into room temperature water (this means that it will be easily mouldable when it comes to printing – you want at least 30 minutes of soaking).
2.   Clean the plates – Using Brasso to polish the plates until they are mirror-like, then I use a mixture of French Chalk and Ammonia to degrease the plate (this now means that there won’t be any resist when putting on the ink) Wash off the mixture and dry on a hot plate or tissue the surface but don’t touch it!!
3.   Using a piece of Card I apply the ink to my plate, you only need a light cover or you’ll end up wiping most of it off!! Why waste it?
4.   Using some Skrim (a fine mesh material) I rub the ink deep into the etched lines in a semi-circular motion.
5.   I then use Tissue paper to remove any remaining ink that is on the absolute surface of the etching plate (this means that all the ink is only where the acid has eaten into the metal plate).
6.   Once the etching plate is shiny and the ink is nicely in the etched areas, I place my it down on to the Press. I usually have a registration plate under a sheet of 2mm Acetate which means that I can line up my paper over the top of my plate and get it perfect every time!
7.   Remove paper from the water a place between two or more sheets of blotting paper (I remove any excess water from the paper, usually until it feels just about damp on the touch – I use my cheek to test it).
8.   Take paper to the press and line up with the registration plate (the etching plate is now underneath the paper).
9.   Place tissues paper over the top of the paper (stops starchy water going into the clothes) then the clothes over the top of the plate and paper and roll it through the press!
10.   On the other side of the press, roll back the clothes, peel back the paper and Walla, you have a print.

To make an Offset Embossing:
1. Follow previous steps..
2.   With the freshly pressed print, I place the print face up on the bed on the press.
3.   I place a different (already inked) plate face down into the ink of the print (this means that when the paper and plates go through the press, the plates will be pushed into the ink and with any luck, the wet ink will transfer onto the plate).
4.   Cover paper and plates with tissue, roll over clothes and put through the press (I put a couple extra pieces of tissue paper over the top of the plate as the ink is facing up into the clothes and you don’t wanna get any ink on those!!)
5.   Roll through the press.
6.   Roll back clothes, peel away tissue paper, flip over the plates.   Now, the wet ink should have transferred from the paper onto the new plates. (you’ll loose a little bit of colour/ ink from the new plates onto the old print – but who cares, you want the offset emobssing, haha).
7.   Get some new paper and follow the process for drying.
8.   Place new offsetted plates on the registration and place the paper over the top.
9.   Follow previous procedure and roll through the press.
10.  Now, you should have a print where there are elements of the first print inside!

Here is the process video:   How I create ‘Natural Architecture’ prints.

 

Anyway!    After arranging and sorting out photo’s of architecture here in Bolton and finishing up this process video, I then decided to begin creating a new Silk Screen print. I’ve been working on it for a couple of hours.   It’s similar to the previous screen print I posted, working with architectural forms and seeing what happens to the positive and negative space when adding new and interesting shapes.   I’m yet again creating another process video for how I have been making my screen prints.   This is really just to inform friends and family that may not know what I get up to or how I create my work.

This is the 4 layers that I managed to get done this evening: (there’s much more work to be done to this – remember it’s only a test)

Anyway’s, I’m done for the day, Over and Out! X