One new attitude about screenprinting is the idea that making a print can be non-linear in process. That means that both the surface and the image can be built up with successive layers of ink and imagery creating a dimensional and measurable surface that can be sanded with fine sandpaper or “washed” with a mild solvent for acrylic inks such as “Createx airbrush cleaner” or “Goof-off 2.” Both of these methods have their own special characteristics and appearance. What they have in common is the ability to reduce the surface in a rich, painterly, unpredictable and uneven manner that reveals lost and buried details left their by accident or design. The process can be repeated a number of times. Following this reduction in surface more printing can be made. This is the basic idea.

There are a great many variables of course. Its not a formula, but a place to start and a new way to think about screenprinting. It is also an open ended process and therefore non-repeatible as a precise edition. Each image will have its own distinct “personality” which cannot be directed. It is a form of dialogue between the artist and the print itself.

In order to make either of these work a number of issues need to be addressed. There are many variables to this process. The following steps in preparing the paper cannot be omitted. There are no shortcuts here.

1. The only paper that can be used is Arches 88. It is smooth mould made 100% rag water leaf paper without any discernible tooth or texture. This is critical. Any other paper will reveal more about the structure and surface texture of the paper than the image when it is being “worked.” It also shows color better than any other paper. Some other materials such as plexiglas and fine wood veneers may be used as well. The structure of the wood grain will be a part of the print as in the example on the right.

2. An exact registration system must be used. The best system is a combination of metal pins and plastic tabs to
insure exact placement since most of the images must be printed multiple times one layer exactly on top of the other. The other important factor is a well stretched screen using mono-poly fabric. This cannot be done by hand with a staple gun. It should be factory stretched.

3. Paper preparation. Two or three layers of transparent screenprint ink should be printed on each sheet of paper to seal the paper and provide a cushion to printing and for the reduction in surface. Without this the ink will not release properly and the paper will tear.

4. Print sequence. Finer details go first, each one printed at 3-5 times, followed by textures and medium density stencils again each printed 3 times... or more. Finally broad shapes and colors go on top obscuring the stencils below. Opaque colors work better than transparent in general and contrasting color layers read better as well. Beyond that it is a process of self discovery and exploration.

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