Production

Monoprint explorations 

Although I had previously decided that screenprint was to be the traditional method of choice, I decided to explore with some monoprints in order to not only better my processes at the technique but to also potentially aid my screenprint. 

The picture house was simply drawn onto tracing paper, with a less detailed structure being highlighted. A stencil approach was developed so I was able to physically see how the structure of the monoprint would be. 

From this a physical stencil was derived. I completed this action beforehand as when previously completing monoprint only simple shapes had been used. 

When rolling the ink onto the deisgn it was found that the stencil wrapped itself around the roller, making the process difficult to complete.

The completed designs are depicted above. A red was selected in order to promote the red brick nature of the building. When studying the poster it became evident that type was not apparent and thus another traditional method such as letterpress would have to be applied. It was also decided that the grainy nature of the print made it appear weak and thus the more accurate method of screenprint was tested. 

Screenprint 

Template 

The process


One of the main issues in which occurred during the screenprint process was that after coating my screen and letting it dry in the provided area, another screen (in which had been too thickly coated) covered my screen in emulsion, in turn meaning that I had to repeat the initial process in which I had not scheduled time for.

As a result of repeating the initial process, all the screenprinted beds had been used and thus I had to set up the desk variations. As I had not previously done this a new skill was learnt. One downfall with this process was that the print frequently stuck to the screen (as there is no vacuum when using this process), resulting in poor prints and a screen in which had to be re-washed on multiple occasions as the following prints would then stick to the screen. As a result of this far more time was spent upon developing the prints then originally intended.

In some cases the squeegee was not pressed hard enough and thus the typography in some cases would not be expressed.


Colour variations 

Although I had completed digital mock ups, I decided to explore with an array of coloured papers. Two inks were explored, as anymore would be wasteful and damaging to the environment. As a white ink was used upon a pink paper, the pink pigments were still apparent and thus this made the deisgn appear naive. A large contrast was derived when completing this. 

A grey was explored alongside that of the intended blue. Although the contrast was strong upon this piece, the grey made the deisgn appear formal, a factor in which I did not want to promote the lively picture house as. 

Similar to the pink, an orange variation was developed. Again the transparent pigments were the limiting factor of this design. 

A white was explored for that of the background colour in which promoted a large contrast, making the poster stand out. Small imperfections were gathered and thus mass variations had to be explored. 

In order to promote a vintage element towards the poster the background colour was explored. Off-whites, creams and browns were used in order to express this. From this the off-white approach appeared most relevant as it applied this concept and a large contrast.

A white ink upon a cream was explored although this appeared illegible. 

 Textured papers 

Textured papers were explored with in order to gain a different atmosphere towards each design. Three textures were explored with, with each promoting a different atmosphere towards each print. Although the feel of the poster was far more interesting, the ink did not fall effective upon each design, with background pigments appearing apparent. This therefore leaving some of the designs feeling streaky.

Double exposure 

A double exposure was explored in which I believe gave the deisgn an extra dimension. Although I liked this deisgn, when discussing with my peers they suggested that as you could see the blue through the white, this was uneffective. It also goes against the pre-developed concept of a two tonal design. 

Printing on tracing paper

Prints were completed on tracing paper so that a layered approach may be explored. The tracing paper left multiple areas not covered by the ink in turn promoting a pigment effect. This made the deisgn appear very weak and therefore unsuccessful. The paper also became wrinkled when the ink had dried. Although an attempt at ironing the tracing paper was made this was ineffective.


Double exposing using tracing paper 

Although the tracing paper appeared creased, attempts were still made to create a layered approach. This was ineffective as the designs felt very messy and unprofessional. As a result of this the two colour screenprint was decided upon as a final.