Creating a Serigraph
There are many, many techniques used at PrintMaster Studio to make a serigraph. They are different for every artist based upon the nature of the artist work. The following illistrations detail some of the steps of the plate making process used to make a serigraph.
This is an example of the plates that were created by RC Gorman at his studio for a serigraph printed at PrintMaster Studio. It was composed of a combination of both hand drawn details and hand painted brustroke washes. A separate plate is used for each color. The plates are transparent so they can be superimposed one upon each other as each successive plate is drawn or as a wash is applied. So the image is built up in layers.
Further down the page you will see the resulting image.
All these plates were rendered in black and white, as the artist has had much experience in making them and visualizing what they will look like in the final colors. It is also possible to prepare the plates using colored pigments, helping the artist to visualize how each color will interact with the others.
Here the artist applies brushstrokes to the figure and the background onto a transparent plate. This plate will print in a pale transparent grey-brown. Below this plate is the keyline plate, which in this image is drawn & printed in a dark brown texture.
Now the artist draws the details for the flesh tones in face & hands. There are two transparent plates below the flesh plate, that of the background wash from the photo above, and the keyline plate, which prints the dark brown details
Here the artist perfects his plates with the printmaker in the background ready to offer assistance as needed, and photographs. Behind him to the right of the piano, very small is the original pastel, from which this serigraph was loosley translated.
After these plates are made, they are then exposed to a light sensitive screen stencil which captures the tones and detail into a printable form. A separate screen is made for each plate and then is printed in the corresponding color. All those screen stencils are then printed together, one color at a time on the final sheet of paper.
The final serigraph of Evelyn
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