printmaking
While my primary activity has not been that of a printmaker, over the years I have incorporated print processes into six series of works. In print-making, I like that ink is driven into the surface with results that are different from both drawing and painting. Of the fourteen prints illustrated here, the first seven were printed in commercial print shops as were the much later blueprints.
The first is a Screen Print /serigraph (1970). In this instance, I cut the film and selected the ink but the edition was run in a commercial print shop. I saw the finished product for the first time when it was delivered to me wrapped and ready for signature.
The next six are Offset Lithographs (1971). I produced hand-made black & while negatives that were a mix of drawing, photography and collaged Letraset screens. I purchased 'after-hours' press time, paying overtime to stand alongside the press operator and to make decisions throughout the proofing process. Such decisions were mostly about colour blending and intensity. Unlike the screen print where the inks were opaque, this was an opportunity to work with transparent process inks.
The four Saw prints (1975) are also screen prints but produced entirely by me using hand-cut rubilith and liquid block-out. They were printed in a silk-screen studio that I set up in a space adjacent to my studio at Canadore College in North Bay.
The Amazing Randi (1984) is a stone Lithograph produced by me in the NSCAD print studio under the supervision of master printer Bob Rogers.
The SDS (Screen Dependency Syndrome) are blueprints (1996) printed commercially from original drawings - graphite, ink and collage on mylar. I have always liked the quality of blueprints and felt that the appearance of pre-production plans suited the notion that SDS prosthetics would be produced commercially.
The final, (de)composed, print (2005) is a plywood woodcut that I cut and then printed in the NSCAD print studio. The final product - I required just one for my solo exhibition at Dalhousie University Gallery - was further developed by the addition of chalk pastel and gold leaf.
The first is a Screen Print /serigraph (1970). In this instance, I cut the film and selected the ink but the edition was run in a commercial print shop. I saw the finished product for the first time when it was delivered to me wrapped and ready for signature.
The next six are Offset Lithographs (1971). I produced hand-made black & while negatives that were a mix of drawing, photography and collaged Letraset screens. I purchased 'after-hours' press time, paying overtime to stand alongside the press operator and to make decisions throughout the proofing process. Such decisions were mostly about colour blending and intensity. Unlike the screen print where the inks were opaque, this was an opportunity to work with transparent process inks.
The four Saw prints (1975) are also screen prints but produced entirely by me using hand-cut rubilith and liquid block-out. They were printed in a silk-screen studio that I set up in a space adjacent to my studio at Canadore College in North Bay.
The Amazing Randi (1984) is a stone Lithograph produced by me in the NSCAD print studio under the supervision of master printer Bob Rogers.
The SDS (Screen Dependency Syndrome) are blueprints (1996) printed commercially from original drawings - graphite, ink and collage on mylar. I have always liked the quality of blueprints and felt that the appearance of pre-production plans suited the notion that SDS prosthetics would be produced commercially.
The final, (de)composed, print (2005) is a plywood woodcut that I cut and then printed in the NSCAD print studio. The final product - I required just one for my solo exhibition at Dalhousie University Gallery - was further developed by the addition of chalk pastel and gold leaf.