How Does Screen Printing Help Young Art Lovers Collect Their Own Collections?

- Feb 07, 2018 -

How does screen printing help young art lovers collect their own collections?

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Marilyn Monroe, Mao Zedong and the Queen: The connection between the two is not obvious, but adding some green, blue and yellow passion embellishment, the answer is Andy Warhol (Andy Warhol) lasting Pop art image on the screen.

In the most ambiguous cases, screen printing is a copying process that uses templates to create short printouts. The ink is applied to a screen (silk, or more generally nylon) and set aside until it is allowed to pass through to the other side. By layering the color of paper, fabric and even wood, the image appears. In Warhol's case, the photos he copied were not shot by him, but they were reimagined in the printing process, vividly shaping his image.

If others see it as the industrialization of art, then Warhol likes to take advantage of the relationship between art and thirsty markets, and that's what makes it really attractive.

However, almost 50 years later, in a world where digital images are popular, screen printing has become the ideal bridge between hand-crafted and mass-produced products. Every handprint has what Walter Benjamin, the cultural critic, call "aura," something you can not get from a laserjet printer - although something is harder to detect than others, depending on whether you're messy or not Meticulous screen printer.

In the East London printing club, you will find a variety of things. Open Access Studios opened in September 2007 as a response to the feeling of frustration over the digital work.

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Illustrator Rose Stallard felt it necessary to go back to the studio and use her hand to create pieces with ink. When she was printing at an art school, there was a lack of studios where you could "rock on your bike rather than be afraid to create chaos." So, together with other artists, Fred Higginson, they decided to make one, and ironically, they got the equipment they needed from the Academy of Arts.

"The students no longer do this, and the equipment is too large and few places have enough room," says Kate Higginson, who joined the studio six months later to take care of the studio business. However, just as they were before Warhol, they quickly found a market.

Today, they have 1,700 members and more than 500 artists online. "There are a lot of great artists who do not know how to market themselves and we give them a platform that's not as scary as walking into a big gallery, 'Hey, would you sell my piece?'" Kate said.

The printing club's team is also keen to give cash-strapped art lovers a chance. Since 2008, they hold a screenprint show every year, blisters, and sales print 50 artists £ 50. "Habitat and IKEA are doing these terrible digital artwork, people spend a lot of money." We think we can create cheaper original artwork, so much the better. Kate said.

"Some people may not be able to tell the difference between screen printing and numbers, but one person prints it, and there's some skill in it."

Blisters sells big names, such as Peter Blake, Rob Ryan and Kate Gibb, as well as undiscovered and emerging artists.

The heart of all these excitements is an ancient process. In more than 40,000 years ago, "stencilling" was invented on the walls of European caves, and in the Song Dynasty (960-1279 AD) there was a silk screen in China (AD 960-1279).

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It reached Europe in the 18th century and in the 20th century it was made of photochemical chemicals that you can now DIY at home with a little gadget. At the printing club's 930-square-foot warehouse, members work on their favorite screen bed, or wait for the refreshments and biscuits to dry on their new screen. Screen printing is a slow process. For those who do not know, such as myself, a bit confused. Fortunately, Simon Fitzmaurice, one of the technicians who print the club, is guiding me. He often leads workshops at the club and explains that the process is no different from photography.

In the dark room, we use a light-sensitive emulsion on the screen. Once dry, the image of my choice is placed on top and passed through the exposure device. It is clear that all the dark areas on my image absorb ultraviolet light and produce a negative on the screen. Once the screen is dry, we can print it.

"It's good for you to create a powerful yet effective work of art that does not require a great deal of work to produce," Simone said in the morning of the workshop where morning amidst the design and refinement of the drawings. In this example, I use a template made by Rose and have a special feature in the Press Club's newly published book silkscreen: The Ultimate Studio Guide from Sketchbooks to Rubber Scraps, which they hope will encourage others to go try.

The picture frame on my film was placed on the bed, I am happy to drop the ink to the bottom of the frame. Push the ink into the top water and pull it onto the paper. Pull it down and print the image on the frame. Between each print, the screen is full of ink.

Different grid counts produce different types of images. For a delicate print, you need a grid of about 120 threads per square centimeter, and a delicate block print will favor something more rough.

 

In addition to his own work, Simon also regularly prints versions of artists who do not have the printing technology or who can spend 200 weeks printing a few pages.

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In many cases, the artist works closely with the printer to create an artist's proof that the entire version will look the same. Each color layer needs a different screen, then cleaned and reused.

My second color photo printed 10, I finally got a best condition. There are some thoughtful ways in this process. Although I can see that 200 may be part of my newly acquired skills.

"Looks neat," Simon said in a good mood. I have not consulted with Rose, the artist, about color, so maybe I can claim that my new handmade work is my own work. No, I do not think I have enough artistic self to complete a Warhol.

 

 

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