Print Workshop: A5 Book

The brief for this group project was to create screen printed pages for an A5 book. working in a small group we decided not to have an overall theme, but to create images based on our current interests. We also decided to limit ourselves to 2 colours (black and one other colour) with individual choice of paper.

 

 

I have been continuing to explore the subject of time. For this project I decided to use the image of an ammonite (ammonites being used to measure geological time) as a motif symbolising time.

The British Geological Survey website explains that

“Ammonites can be used to distinguish intervals of geological time of less than 200 000 years duration. In terms of Earth history, this is very precise.”

I had originally been thinking of making a lino print, but this project was to be screenprinted. However, I decided to stick with the idea of a simplified graphic image. For this, I edited a  photograph using Photoshop’s stamp tool, experimenting with the black/white balance until I got the level of detail I wanted. The image was very small so I converted it to a vector file to enable me to enlarge it as much as I wanted.

 

 

 

As I needed images for both sides of the paper I also used text with the words ‘I was here’ which continues ideas from a previous project, in which I used the phrase ‘I am here’. These phrases play with the concept of human existence within space and time.

I altered the spacing of the individual letters to make it more interesting and for the final design I also angled it on the page. As the book was to be perfect bound I was able to run the lettering across two A5 pages

 

 

As an experiment with materials, I planned to print onto drafting film, but due to being translucent I did not want the images on each side to ‘fight’ with the other so decided on using black for the lettering and a semi-transparent colour for the ammonite. During a conversation with my tutor I hit upon the idea of using iridescent ink. This related to ammonites being able to produce mother of pearl. I found a range of tints in acrylic paint, which could be mixed with screenprinting binder. I discovered that it printed well. Although the paint looked white in the tube, once it dried it became translucent and kept its iridescence. The image becomes more or less visible depending on the angle at which light hits it.

The experimentation with materials was a success and I was very pleased with the overall outcome of my prints.

Iridescent ink on translucent drafting film

 

I also printed onto manilla paper, which had been my backup plan in case the printing was unsuccessful on the drafting film. I experimented with overprinting the lettering with a larger ammonite print. The iridescent ink remained visible on the areas of black text and almost disappeared where it was printed on the plain manilla paper.

 

I plan to buy more tints of the iridescent paint and mix the colours to see what effects I can get against different background colours.

Bookbinding:

The next stage was to create the book using the ‘perfect bound’ method. this involved cutting the pages to A5, stacking them, clamping them together and gluing a strip of scrim along the edge to create a spine. Once this was done and the glue was dry the cover was attached. This type of binding allows the pages to sit flat, which was an advantage with heavy papers, which some people had used.

I enjoyed being part of a collaborative project, with a book being a way of sharing our work with others to keep at the end of it.

 

 

Printmaking: Linocut

 

As a separate project, I continued with my initial idea of making a linocut (A4 size) based on the ammonite motif. I wanted to make embossings of the image (without ink) on heavy paper. However, when I discussed this with the print technician I was advised that the soft type of lino I had used would stretch under the extra pressure that would be needed for embossing so I did not go ahead with it.

 

 

My next plan was to print with ink and to experiment with the process. Using oil based printing ink I made a series of prints without re-inking the plate, which created ‘ghost’ prints. With these, in addition to becoming paler, they became mottled, which added textural interest. As a series, the ‘ghost’ prints show a time-based process.

 

 

Another line of experimentation has been inspired by a partial image that was left when cleaning up after screenprinting text. The screen was cleaned with water, which left a partial image transferred onto the newsprint that was protecting the equipment. This result links back to earlier work in which I was exploring the fragmentation and erosion of images.

 

After several prints were made, I splashed the printing plate with solvent and continued to make several more prints without re-inking and with further splashing. This created interesting effects and I plan to use this technique for further work, around the idea of things disintegrating and dissolving.

 

Printing: Linoprinting Continued

 

I experimented with more linoprinting using the iridescent paint and blockprinting medium. I discovered that, unlike the screenprinting medium, the medium remained fairly opaque and overpowered the iridescent quality of the paints. It was also not smooth and even like the oil-based printing inks and gave a more textured effect.

Linoprint on black card – waterbased ink

Linoprint on canvas – waterbased ink

 

I also experimented with layered prints. I used a cardboard shape as a block and overprinted one of my earlier linoprints with the iridescent acrylic paint/medium mix. It gave a subtle result which was effective as it didn’t overpower what was beneath.

 

Oil-based linoprint overprinted with acrylic paint/medium mix

 

Mixed media – paint, linoprint, screenprint on paper

 

I further experimented by printing on painted backgrounds (paper and canvas) building up a layered image using linoprinting and screenprinting. I think this approach was successful and I plan to experiment with alternative colours.

One issue I had was with my cardboard printing plate which I had sealed with 2 layers of PVA glue followed by 2 layers of shellac. However, when washing off the ink, some of the surface lifted off. In future I will need to omit the PVA glue and only use shellac or  linseed oil to waterproof it more thoroughly.