I intended to ask a variety of types of people:
- Students
- Print Technicians
- Designers (who specialise in non - digital print)
Below you can see the questions I intended to ask:
(This section is just for print technicians and designers)
First of all, what made you fall in love with print, and specifically, screen printing? (Both fabric and silk screen)
How long have you been involved in print, and what’s your history in terms of education & print?
What’s your favourite finishing method / any you suggest students should try?
What’s your favourite ink / any you suggest students should try?
What’s your take on the phrase ‘Print is Dead’, with many things now going digital?
What do you think is missed with digital print that can be achieved through screen printing?
What would you say are major mistakes people take when using specific screen printing methods? (please be specific)
(This section is for everyone I intended to ask, including graphic design students)
Also, it would be great if you could provided a sentence or two about the following, and why you like them? (I intend to use them as inspiring quotes to try out the processes)
General Screen printing ink
Foiling
Neon Ink
White Ink
Gradient colours
Thermochromatic Inks
Glow in the Dark Inks
Scratch Card Style Inks
People I Asked There Questions
Neil Owen (Print Technician)
Andrew Hugget (Print Technician)
Will Bryant (Professional Designer specialised in Print)
Neil Owen (Technician) - Questions and Results
First of all, what
made you fall in love with print, and specifically, screen printing? (Both
fabric and silk screen)
I fell in love with print during my foundation course and
was mesmerised by etching, both in terms of a finished print and the
physicality of the process itself; the methodical and meticulous nature needed
to achieve a finished plate made me feel like an alchemist discovering gold.
Plus, in the late 80's and 90's print rooms were a different place with the
smell of solvents and ink hanging heavy in the air. I didn't really get into
screen printing until about ten years later; I had made a few screen prints but
found the process a little too clinical at university and favoured etching. I
now tend to work in both etching and screen, with screen being useful for
producing work at a faster rate.
How long have you
been involved in print, and what’s your history in terms of education &
print?
I initially studied graphic design, but was more inclined to
fine art, so I did a foundation, then I finished a Fine Art degree in the
mid-ish 90's. I produced etchings on the degree and continued to work in this
medium using the London Print Workshop in Hammersmith to etch and print plates.
I then went on to set up my own open access workshop in Sheffield for 5 years,
during this time I continued to make work and exhibited nationally and
internationally, achieving numerous awards for my work.
What’s your favourite
finishing method / any you suggest students should try?
Finishing method? These tend to be reprographic terms, but I
love the subtlety of spot varnishes on black paper.
What’s your favourite
ink / any you suggest students should try?
I can't really say I have a favourite ink, as mentioned
above, I tend to like very subtle varnishes or colour schemes. Although saying
that, Charbonnel is a wonderful etching ink, but I assume this questionnaire is
more about screen printing.
What’s your take on
the phrase ‘Print is Dead’, with many things now going digital?
"Print is dead", really….. I don't think it will
ever die, it is such a powerful medium and will exist in one form or another.
In the advent of digital devices, I still think the printed page has a place in
the world, and in terms of artwork has even more relevance. LP's have survived
and seen a resurgence through the rise and fall of cd's, mp3, and other
recording/distribution methods.
Print is far from dead!
What do you think is
missed with digital print that can be achieved through screen printing?
Screen prints tend to evolve in the layering and interaction
of colours and inks, the image progression through the printing process and
changes that can occur during this. Moreover the actual physical connection
with the prints manufacture give the individual control rather than waiting for
a digital printer to finish. I feel this lack of connection with a digital
print adds an element of disposability to it, with another copy being achieved
with very little effort. Don't get me wrong, digital print has a beautiful
quality and incredibly valid, but screen and digital prints are very different
products and things aren't really missed or achieved in one over the other,
they both have their place in the world and different distinctive
qualities.
What would you say
are major mistakes people take when using specific screen printing
methods? (please be specific)
The lack of planning is a pretty major stumbling block,
often leading to a something somewhat curious and appearing unfinished. The
method itself is relatively straight forward with a few pit falls and quirks,
but in my opinion, the main mistakes made tend to be in attitude towards screen
printing. Since the process requires a considerable amount planning and execution,
therefore the phrases "It will do" or "I want it to look a bit
off" are possibly the worst mistakes…...
Your opinion on the following:
This problem should be considered within the print design and worked with as a positive thing. For true opaque inks
the answer lies with oil based inks but the use of solvents to clean up would be intoxicating.
Foiling
Never tried it, we tend to print with a metallic powder mixed with the print medium to form an inks that gives a
wonderful lustre, but does not take to being over printed and should be considered as a final layer.
Neon Ink
Do you mean fluorescent inks? If so, AWFUL…. absolutely horrendous with any notion of subtlety out the window,
but that's just my opinion. They may have some use in anaglyph printing and the odd application but apart from that
personally i'd steer well clear.
Your opinion on the following:
General Screen printing ink
We use water based inks for health and safety reasons and
due to their nature they tend to never give true opacity.This problem should be considered within the print design and worked with as a positive thing. For true opaque inks
the answer lies with oil based inks but the use of solvents to clean up would be intoxicating.
Never tried it, we tend to print with a metallic powder mixed with the print medium to form an inks that gives a
wonderful lustre, but does not take to being over printed and should be considered as a final layer.
Neon Ink
Do you mean fluorescent inks? If so, AWFUL…. absolutely horrendous with any notion of subtlety out the window,
but that's just my opinion. They may have some use in anaglyph printing and the odd application but apart from that
personally i'd steer well clear.
White Ink
White ink? Lovely…. white as is black, a generic term that
umbrellas such a rich variation. This is never really exploited
to it's full extent and could produce such an amazing amount of variations and subtlety.
to it's full extent and could produce such an amazing amount of variations and subtlety.
Gradient colours
It can work well and is a technical issue in terms of
achieving a gradual colour blend, but patience is the key. I guess
it's all down to the original choice of colours as with all screen prints; way too often a great print is somewhat ruined by
colour choice being an after thought. Therefore colour swatches can save you hours of work in the long run and a lot
of heartache.
it's all down to the original choice of colours as with all screen prints; way too often a great print is somewhat ruined by
colour choice being an after thought. Therefore colour swatches can save you hours of work in the long run and a lot
of heartache.
Thermochromatic Inks
Has it's uses, and some great concepts have be achieved with
it, but the main problem is that it comes in a very
limited range of colours and more importantly it is an ink additive and is not opaque. Therefore it should be
considered purely as a colour changer rather than an opaque mask.
limited range of colours and more importantly it is an ink additive and is not opaque. Therefore it should be
considered purely as a colour changer rather than an opaque mask.
Glow in the Dark Inks
Again has it's uses and can provide an interesting twist to
work, but should be considered within the concept of the
work and not as an after thought; plus it's over use tends to dilute the effect.
work and not as an after thought; plus it's over use tends to dilute the effect.
Scratch Card Style Inks
Never used it and not come across it.
Andrew Hugget (Technician) - Questions and Results
First of all, what made you fall in love with print, and specifically, screen printing? (Both fabric and silk screen)
I was introduced by an excellent tutor whilst doing A levels and specialised in printmaking at this stage. I enjoyed working within the process at each stage being able to break down and reconstruct imagery through print. I also enjoy the variables involved within a process and the way that they can be manipulated in order to find out new methods of working or achievable ‘effects’.
How long have you been involved in print, and what’s your history in terms of education & print?
Since about 1996. A level Printmaking, Foundation studies, Fine Art degree, continued practice, Leicester print workshop residency. PGCE around 8 years ago...? Ran modules and part time courses at FE level for 7 years then became a print instructor Technician At LCA for the last 2 and a bit years... so probably about 9 years involvement in delivering education provision and about 8 years previous experience with print for my own practice/education.
What’s your favourite finishing method / any you suggest students should try?
Finishing method.....? you mean printing method.... if so I enjoy or find the most milage out of screenprinting – just in as much as any mark you can make can within reason print... and i enjoy the way that the printed mark unifies previous drawings...
I suggest moving back to producing everything hand generated for a while to explore the differences that can be achieved against computer generated marks.
What’s your favourite ink / any you suggest students should try?
Black or turquoise...ha ha. The old oil based screenprinting inks were cool but not allowed any more due to safety issues. Inks are there to achieve different results so its horses for courses really.
What’s your take on the phrase ‘Print is Dead’, with many things now going digital?
Its a statement that doesn’t resonate with me, clearly made by people who are more interested in being hip than making actual work... so let them say it – i don’t agree. Also, the obvious answer would be the surfaces of ink that can be created with print are different to those that can be created digitally..
What do you think is missed with digital print that can be achieved through screen printing?
The surface, the intensity, the snazzyness!
What would you say are major mistakes people take when using specific screen printing methods? (please be specific)
The major mistakes come from misregistering the different layers, not washing the screen out quick enough after printing, therefore blocking the open mesh, not taping up the screen or masking off areas that they don’t want to print...
Also, it would be great if you could provided a sentence or two about the following, and why you like them? (I intend to use them as inspiring quotes to try out the processes)
Your opinion on the following:
General Screen printing ink – better than sergeant ink....
Foiling - a strong reflective quality – sits on the surface
Neon Ink – it hurts to look at it
White Ink – it prints a really clear colour when you use not much binder
Gradient colours – blend beyond blend – they blend together like birds of a feather
Thermochromatic Inks - they look great when hot but just don’t get ‘em cold
Glow in the Dark Inks - you can see them when you shouldn’t
Will Bryant (Graphic Designer) - Questions & Results
Please give me a brief history of your work as designer, from where you studied up until now.
I received a BFA in Graphic Design from Mississippi State University 2008, and an MFA in Contemporary Art from Portland State University in 2013. Since completing undergrad in 2008 I have run my own studio making things for other people and sometimes for myself. My work has been plastered across T-shirts, record sleeves, posters, magazines, furniture, snowboards, underwear, and also exhibited internationally. My career started during undergrad in Mississippi making shirts & posters for bands, churches, and small companies.
After graduating I moved to Austin, TX and became a member of the collaborative studio called Public School until 2011. During that time my work started growing beyond illustration and more into art direction and I learned a great deal from the other members of the studio. We separately were all running our own creative business, but sometimes collaborated on projects together (Good Magazine, Chronicle Books, Renegade Craft Fair, SXSW).
After nearly 3 years working full time freelance, building my client list, and trying to figure things out I decided to pursue an MFA, specifically in Portland OR. With a background in graphic design and a shocking submersion into the contemporary art world I struggled, stretched, melted, and grew my way through graduate school. My work became more critical, my perspective on art and design shifted, and I became much more aware of my work in various contexts. My client work is stronger from critical thinking skills and my personal work has developed deeper interests that are more layered. In short, I’m less naive. But it wasn’t easy.
2. How long have you been involved in print, and what’s your history in terms of education & print?
I am certain I printed things in grade school, but I never really made anything design related until college. I taught myself how to screen print while in Mississippi and also took one printmaking class (woodblock relief printing) during that time. Most of my printing education comes from experimentation and making friends with people that print all the time. I’d guess 7 years, so not very long.
3. What made you fall in love with print, and specifically, screen printing? (Both fabric and silk screen) The gratification of seeing something you’ve made get printed (whatever method) is hard to beat. Ink to paper, the tactile nature of printing, the smell, the sounds, the everything—it’s just wonderful. Even the clean up. It’s a much more involved process than clicking a print button on your computer. Being able to hold something that’s not a LED screen is neat.
4. What’s your favourite finishing method / any you suggest students should try?
My favorite finishing move is the Diamond Cutter by Diamond Dallas Page.
5. What’s your favourite ink / any you suggest students should try?
Whatever is available. “The best camera is the one you have with you” —somebody smart said something similar to that one time
6. What’s your take on the phrase ‘Print is Dead’, with many things now going digital?
Print is dead, if you want it to be. Life is cool if you make time for it.
7. What do you think is missed with digital print that can be achieved through screen printing?
A sore back from manual labor is missing from digital printing. Also, the evidence of the hand. (in some cases)
8. What would you say are major mistakes people take when using specific screen printing methods? (please be specific)
Focusing on specific screen printing methods and not having anything worth printing. Discernment is crucial. Experiment and explore without concerns for the content—but at some point you need to have a concept or structure to work with/against. Just because something is screen printed doesn’t make it "better" than an ink jet print. It all depends on intent and context. Printing is important. So are good ideas. Let the idea determine its execution.
9. Do you have any major design influences from anyone in particular?
Pee Wee’s Playhouse, Push Pin Studios, Geoff McFetridge, Milton Glaser, Daniel Eatock, and Saul Steinberg to name a few.
10. What other non - digital processes outside of screen printing should students try?
Everything that you find interesting. Work with found materials, paper, cyanotypes, BBQ Sauce, india ink, acrylic, watercolor, silly string, peanut butter, graphite, indigo dye…anything really. Experiment and get your hands dirty. Everything is a tool for making.
