Screen printing workshop inspired by self taken photo and observational drawing– Week one

Self taken photo and observational drawing used to inspire screen print stencil and development. Allowing me to not only integrate primary research, show development but also show connectivity and growth within my sketchbook and project as a whole. I intentionally chose to use these visuals and images to inspire my screen print as I loved the perspective, geometry, irony (due to being on global landmark Selfridges, London) and social and environmental issues integrated within the visual. Helping me to link to various concepts and themes within my own project(many from my initial research using 'True Cost' documentary), such as: fast fashion, fashions impact on the environment, consumerism and general greater societies shopping habits.

Initial stencil creation inspired by self taken photo, which I then went on to trace multiple times for the different colour layers, using the lightbox. However, I quickly realised, that not just by choosing a very complex and detailed visual, that this approach wasn’t going to be the most effective and timely. Leading me to then enlarge and print my self taken photo to an A3 scale, then allowing me to remove and cut out areas from each colour layer to create my stencils ready for printing. 

First prints using blue layer stencil. I personally love both the crisp and defined print displayed above, as well as the more textual, shaken and pixelated example. Providing me with a range of different outcomes I can now look to add further layers and detail to. The more textual, pixelated example's texture could also link to the destruction and negative impacts that us as a society create and add to the climate crisis. As well as linking and reflecting the texture, mark making and bleeding highlighted within my initial observational drawings I used here as inspiration. Again, displaying connectivity and development about my sketchbook work and project. 

 

Here I also chose to experiment with printing on alternative materials and mediums to further push my skills and approaches. This also enabled me to discover new methods and techniques I could now use in the future. By utilising this natural dye swatch from last week I not only developed my previous work, but also allowed myself to integrate even more geometry and perspective. All by utilising and emphasising the geometry and creases from my Shibori swatch folding technique, intentionally preserved by choosing to not iron my swatches. This merging of techniques, approaches and materials could also link to the approaches and work of Urban Sketchers who I have previously used to inspire project work.

Process of me adding my second stencil layer for my stone building elements. I managed to achieve this by cutting my stencil in such a way that it would match up, conceal and cover the blue elements already on my prints I wanted to preserve. Effectively, meaning I had to match up and puzzle the cut out stencils to the areas that I wanted to keep blue. Overall, allowing the 'stone acrylic' to not intervene with previous details I'd created. As displayed here I managed to achieve one print using the stencil and conceal approach,  however, when it came to lifting up my screen to continue this process with the other versions I’d printed I noticed, that due to using photocopy paper, the stencils weren’t sticking to my screen in the way I wished. Meaning I couldn’t reuse this same approach and stencil for my remaining prints.

 Consequently, I had to come up with a new method and technique that I could use to recreate these stencils, allowing me to continue my development process. For this I decided to resort to creating and utilising a photo stencil approach for both the remaining bricklayers, my yellow text and final black detail layer. This involved me using the lightbox from my photo copies of my self taking photo, black blocking out each of the remaining layers details to then be able to process and develop my remaining photo stencil layers.

Process photos of us being shown how to create the photo stencils and my final black detail layer stencil being developed and generated. Having now been shown the process of applying the photosensitive emotion to the nylon mesh and using the UV light to superimpose my design onto my mesh, creating my photo stencil, I now feel much more confident and able to recreate this process and utilise my newfound skills when and if I choose to use this process in the future. For example, I can now confidently and independently use these processes to help create my remaining photo stencils to finish and develop my prints in week two of the workshop.

Within my practical workshop I was drawn to the inspirational work of Paul Catherall and its links and connections to some of the key athletic concepts within my own screen prints. I was really drawn to the geometry, perspective, colour schemes and layering within his work, inspiring me to integrate these further into my own prints and designs. The use of contrast in colour schemes, within both his work and mine, could also link to the juxtaposition concepts that run throughout my theme. This concept juxtaposition could link to the unpredictable nature of the future and prospects for our environment and world if we don’t get a hold of the increasing climate crisis. Alternatively, this juxtaposition could link to how dramatically different our environment and climate might be if we don’t choose to, as a society, become more sustainable and environmentally friendly. Furthermore, the layering within his work and mine could link to how much of a multi issue, concept and complex situation that is the climate crisis and fashions impact on the environment and society. Alternatively, this layering concept displayed here could not only reflect how, if we as a society collectively join together we could begin to make great change and positive impact, but also how personal small changes in individuals collectively develop to work towards far greater and impact for positive change. Due to all these reasons and concepts of connectivity to my work, I will definitely look to further investigate and research Catherall's incredible work and designs. Continuing to allow them to inspire and inform elements and concepts within my designs and work.

Following on from the completion of these workshops, I could look to further utilise my newfound techniques and knowledge to reintroduce screen printing and concepts of stencils into future project work and designs. Alternatively, I could look at further experimenting with how screen printing behaves on other mediums and materials, such as how I’ve began here within my natural dying swatches. This could therefore allow me to bridge the gap between 2-D work and more 3-D elements. For example, I could look to create fabric prints and pattern designs I could then go onto use in my designs for garments and fashion. Lastly, I could look to scan some of these screen prints in and manipulate them digitally in applications like Photoshop, allowing me to highlight and emphasise key areas and details. This merging of both modern and traditional techniques and approaches could then further add and link to the concepts of juxtaposition within my project. Overall, collectively helping to show development, connectivity and context not just in my work, but also artists, designers and issues I've studied throughout my project and sketchbook as a whole.