Great! Looks great! And it's great that you've tried different things. Have you encountered any difficulties? Have you already tried to recover the screen?
Thanks @barbasilkscreenatelier , I'm very happy with the possibilities that the technique gives :)
difficulties? ummmm ... sure ... let's see ...
In the tests that have the silhouette on a pink background: that first ink pass was made using a stencil made with cardboard and, although the texture that is achieved seems interesting to me, it was totally uncontrollable (in the sense that there were no two equal). In addition to the third pass the cardboard template got too wet with the paint and began to repel on the screen. I had to react quickly to separate it from the screen and clean it well so that there were no traces or embedded paper fibers ... Mental note: the next template will be with acetate.
The photoliths: I did it by painting with a marker directly on the material, and the result was very dark but not totally opaque and even less dark in some areas of finer lines, which, when insolation, caused some lines not to be insolated well and at some point they are "lost" in the stamping. Note to self: The next hand-painted photolith, check the motif well against the light and review carefully where you see a little doubt or look for other materials - maybe I try with acrylic paint -
The register: As I was "playing" with the composition, the register in this case was not the most important thing (millimeter plus millimeter less) but I did use the three stops for the same size paper and it worked well but it was clear to me that face for another type of motif, with more than one ink, the registration must be controlled 100%. I think it is a technique that requires a lot of care and attention throughout the process.
Although I have not published (I can still include them now), I did a couple of tests giving two passes of paint to the same motif. Result: double lines (it is clear that the paper moved somewhat between the first and the second pass) and paste in some areas. At first I write this down as a "mistake to avoid" ... but maybe ... on some occasion ... for some reason ... it may be useful ...
And I have not yet tried to recover the screen because I want to use it to do a couple of tests on textile, cardboard ... maybe wood ... before moving on to another reason ...
I imagine that as I do, I will find more things, so as I progress I will try to share in the forums, which is good for all of us.
All your observations are natural, so it is normal for you to come to them. It means that you are seeing what the reality is at the time of stamping and with the thousand and one things that you find (and you will find). So what you have to do is keep stamping. The more you stamp more different situations and solutions you will have to find. It is part of the process!
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displayname152270
Insegnante PlusGreat! Looks great! And it's great that you've tried different things. Have you encountered any difficulties? Have you already tried to recover the screen?
Congratulations!
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displayname187973
Thanks @barbasilkscreenatelier , I'm very happy with the possibilities that the technique gives :)
difficulties? ummmm ... sure ... let's see ...
In the tests that have the silhouette on a pink background: that first ink pass was made using a stencil made with cardboard and, although the texture that is achieved seems interesting to me, it was totally uncontrollable (in the sense that there were no two equal). In addition to the third pass the cardboard template got too wet with the paint and began to repel on the screen. I had to react quickly to separate it from the screen and clean it well so that there were no traces or embedded paper fibers ... Mental note: the next template will be with acetate.
The photoliths: I did it by painting with a marker directly on the material, and the result was very dark but not totally opaque and even less dark in some areas of finer lines, which, when insolation, caused some lines not to be insolated well and at some point they are "lost" in the stamping. Note to self: The next hand-painted photolith, check the motif well against the light and review carefully where you see a little doubt or look for other materials - maybe I try with acrylic paint -
The register: As I was "playing" with the composition, the register in this case was not the most important thing (millimeter plus millimeter less) but I did use the three stops for the same size paper and it worked well but it was clear to me that face for another type of motif, with more than one ink, the registration must be controlled 100%. I think it is a technique that requires a lot of care and attention throughout the process.
Although I have not published (I can still include them now), I did a couple of tests giving two passes of paint to the same motif. Result: double lines (it is clear that the paper moved somewhat between the first and the second pass) and paste in some areas. At first I write this down as a "mistake to avoid" ... but maybe ... on some occasion ... for some reason ... it may be useful ...
And I have not yet tried to recover the screen because I want to use it to do a couple of tests on textile, cardboard ... maybe wood ... before moving on to another reason ...
I imagine that as I do, I will find more things, so as I progress I will try to share in the forums, which is good for all of us.
Thanks for the support and advice.
A big greeting.
Lorraine
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displayname152270
Insegnante PlusAll your observations are natural, so it is normal for you to come to them. It means that you are seeing what the reality is at the time of stamping and with the thousand and one things that you find (and you will find). So what you have to do is keep stamping. The more you stamp more different situations and solutions you will have to find. It is part of the process!
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displayname1797052
Optimal :)!
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