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If you’re in Tokyo this October… firstly, lucky you! And secondly, don’t miss my friend Yoko’s solo exhibition “mystic elements IV” at Ginza K.Itoya from 1 to 31 October 2015. You can find more information and opening times here, on Yoko’s blog.
Yoko Hayashi “mystic elements IV”
1 – 31 October 2015
2-7-15 Ginza, Chuo-ku, Tokyo 104-0061
[all images copyright yoko hayashi]
I’m in the process of packing up to move home and studio to a new city (albeit a nearby one) and it’s proving, not surprisingly, to be a time-and-energy-consuming process. Luckily I have a very attentive project manager keeping me on my toes…
project manager gira oversees the packing process from atop a pile of boxes
In between house-hunting (& finding :), renovation work (& countless trips back and forth between Amsterdam and Haarlem), packing, and all the other stuff of life I’ve spent some enjoyable time finally completing my ‘noir’ specimen collection with this moth print…
It’s printed in a limited edition of 13 (plus 1 AP) and completes this collection, made a couple of years ago…
At that time I printed the moths as a four-colour screenprint, but I experienced some technical ‘snap-off’ problems when printing them, and also wasn’t fantastically happy with my colour choices – I felt the crisp, graphic lines of the original Indian ink drawing would be more satisfying as a one colour print (I’m a sucker for the graphic simplicity and velvety tactility of dense black screenprinting ink). Not wanting to waste those dud four-colour prints, I stained them with tea and set them free…
in the hills above la roche-en-ardenne (ardennes, belgium)
in st. elisabeth cemetery (berlin, germany)
in tokai arboretum (cape town, south africa)
(and in several other places I no longer recall)
If you would like a single specimen or collection of your own, all of the (still available) prints from the ‘noir’ and colour series can be found in my Etsy shop. (I’ll temporarily close the shop from 19 September until
±1 October ± mid-October while I move etc.)
And now I must dash as I think I can hear my project manager calling…
False alarm! He’s having a well-deserved catnap.
‘The Sleeping City’ is the silkscreen print I completed recently (and for which the drawings in an earlier post were made). It was inspired by a slightly disquieting, though strangely invigorating, dream I had in which a ghostly, glowing thylacine-headed dragon-creature twisted and turned its sinuous body across the dark night sky above a silent, sleeping Amsterdam. I have long wanted to make drawings of Amsterdam’s iconic canal houses and this perplexing dream gave me the nudge I needed. Of course I couldn’t draw the beautiful step, neck and bell gables as they actually are – I wanted them to appear slightly ‘other’, to give them a dreamlike quality… gables for an alternative-reality Amsterdam. The octopus gable and the dragon were particularly fun to draw – I love making drawings that allow me to lose myself in their intricate twists and turns… so much so that I’m sometimes reluctant to resurface!
In the dream the city’s slumbering inhabitants were oblivious to the creature’s presence (which, although not malignant, was also not entirely benign). But not everyone slept through this anomaly… Amsterdam’s cats – shape-shifters and dimension-skippers one-and-all – were awake to commune with the strange apparition in the sky.
I have no idea what this dream meant, if indeed it meant anything at all, but it did provide me with some fun material to work with!
As I generally favour working in black & white, colour-mixing the inks for this print was quite a challenge – I really wanted to capture the harmonious, almost monochromatic midnight-blues, purples and ghostly-glow qualities of the dream, but also wanted enough contrast for the individual elements to have the graphic impact I was after. So I worked with tints and shades of a single colour (that ‘midnight-blue’ I’ve mentioned) – and for the colour layers that called for a more translucent quality, I added lashings of transparent base to the ink.
I chose to print on a coloured paper (Fabriano Tiziano 160gsm pastel paper in ‘Danubio’) as I wanted the elements to emerge from a darker ground, to appear out of ‘the night’ as it were. Printing such a relatively complex (seven-screen, five-colour) print on coloured paper was a first for me and doubtless increased the colour mixing challenges, but generated some very interesting effects. The image disappears almost completely in very dim light, but in brighter light elements positively *pop* off the page – it therefore seems to shift & change in the fluctuating light and as a result replicates a certain surreal quality of the dream that inspired it. I’m fascinated by these temporal effects of colour, light and darkness and will definitely be experimenting further, in future projects, with printing on different coloured papers
Here’s a little animated GIF showing random snippets of the process, including some of the film transparencies created (from the drawings featured in my earlier post) for the seven separate print layers, exposure (of these transparencies) onto screens, ink/colour mixing, test prints, the print at various stages of completion and finally cleaning/reclaiming the screens at the end of the process.
And here is the print, temporarily framed and hanging on my studio wall, to give a sense of scale (those are standard sized postcards on the pinboard to the right). It’s available now, in a limited edition of 45 pieces
, in my Etsy shop.
Now to put Kronk‘s yeti back where he belongs, before his temporary displacement angers him…
… oops, too late!
Some work-in-progress drawings, made for a silkscreen print I completed recently…
As always, my studio assistant’s assistance proved indispensable…
And he was very obliging when I needed some elegant-feline-silhouette source material…
I hope to upload some pictures of the completed screenprint, just as soon as I’ve sorted through the backlog of photos amassed while I was offline…
soap etc., at the printmaking studio
While I was at the printmaking studio several weeks ago playing with colour, I was also working on a new creatures-in-jars-on-shelves print. Creatures-in-jars seem to be a bit of an ongoing obsession for me and since making my first ‘Curiosity Cabinet‘ screenprint over four years ago (where does the time go!) I have continued to draw new creatures, many of which I have made into little, individual screenprints. But for some time now I have had a hankering to fill a second cabinet with some of these new creatures – nothing happens too quickly in my world, but I finally got around to filling that second cabinet…
exposed screen | pile o’ prints printed
cleaning/reclaiming the screen
(one of my favourite parts of the process)
squeaky clean screen… ready for a new project!
‘Curiosity Cabinet II’
The resultant prints are one colour (velvety black) silkscreen prints made in a limited edition of 44. They’re available at the wonderful Otherist store in Amsterdam, and now in my Etsy shop… if it’s pickled tentacles you’re lacking in your life you know where to go!