limited edition prints from posters

Following the success of my four posters for London Transport Museum, currently on the network of London underground stations I have been asked by Michael, the commissioner to edition the designs as screen prints. I jumped at the opportunity, and embraced the task!

This has been an interesting challenge because although the artwork for the posters was made using paper cutouts, one great joy of digital print production means you don’t have to separate each colour to print; CMYK does it’s thing. However, screen printing requires far more consideration of the order of colour on each of the layers as well as registration – the accuracy of each colour layer when printing. Overprinting can result in muddy colours if not fully considered. For the editions of prints I made some artwork adjustments on Adobe Illustrator enabling me to create the positive artwork for each of the four colours in each print, ready to expose photographically on the screens. You can see in my composite image, top right, the black print on acetates which are the screen positives, that I used to expose the images.

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I love mixing colours to match my references and I take pride in not using colours straight from the pot, but to always see the nuance of hues. I make colours darker using purples and greens, rarely black. I used the final posters to get the right colours, and daylight is always essential. Ink and paper surfaces always give different qualities to contend with too. The final colours are certainly rather bright! Screen printing on paper is also very different to screen printing on fabric, so you have to get your head around the differences including remembering to flood your screen (pulling a layer of ink across) between each print, and using the vacuum on the print bed (to hold the paper firm).

However tired I am, when I am printing I am absorbed in the process – rarely noticing hours passing, and missing the need to feed. This is a good thing as my week as been ridiculously busy on all sides. Printing requires systematic thinking, and at least one clean hand. Preparing screens, mixing colours and registering each colour on the acetate first all needs to be organised. I love it when I’m in the rhythm of editioning.

A deadline to hand the first print from each edition to the commissioner this weekend focused the mind, and when trimmed, signed and wrapped I was really proud of the prints. I was even more pleased when I met up with Michael to give them to him. He appeared to be joyfully moved by the results – holding one print up to the fellow coffee drinkers in pride… phew! They are off to be framed and auctioned at a London Transport Museum event at the Victoria and Albert Museum later this week.

This whole project has taken so many months (years) to come good, but throughout the process I have felt trusted by Michael to do what I do best. He has great confidence in his choice of designers spanning the years, and allows us to get on with the job without interfering with the outcome. His twenty plus years of commissioning poster designers has led him to influence the direction of graphic artwork on London underground, creating the archive for the future through the choice of creative hands and minds, but not by telling the designers what to do. It takes trust and judgement on his part, but in turn I think I’ve created my best work yet. In the many conversations over these years I’ve had with Michael he listens, he wants to hear my opinion on things; we have good discussions – he knows about a lot of things. He also often gets carried away with future ideas and possibilities – I like that, we should all get excited by ideas. Thanks Michael!

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yellows

I’ve always enjoyed working with colour; choosing combinations, mixing inks and matching colour. I am interested in how we relate colour to brands, how colour suggests quality, market levels, football teams, trends, and this week in particular political parties. Sometimes people say they do not really like colour – but what they often really mean is that they don’t like strong and vibrant colours, but in my mind bright colours are no more important than the whites on white; equally powerful if used well, just not so extrovert.

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I like seeing the way an inky grey sky makes fields of corn glow golden, and how the crepuscular blue sings out before the night sky takes over. Relationships that colours have can bring connotations, evoke distant memories and create moods. I remember a bag of hand-me-down clothes was excitedly torn open by my twin sister and I, hoping for fabulous new items to wear – in the eighties, when what was actually presented was everything brown and purple – from the previous decade. So disappointing!

Getting the right colour isn’t about a broad brush of red, it’s about seeing the nuances. You’ve only got to see a sale-rail to see the buyer got the shade of mustard a bit too green, or the pink too candy, and not blush. Any colour can vary hugely, our personal perception of colour not only is affected by the technicalities of sight, but also our own relationships with colour, built on past experiences. It took me a while to wear navy, having had to endure it for school for several years.

A friend described my ‘black’ screen prints for the Barbican, and I had to explain it was actually dark grey – it makes a considerable difference to the final result, but if both examples are not shown side by side most people would be none the wiser that the designer made a conscious decision to make a grey look not quite a black.

So here’s some yellow, photographed in Norfolk a few weeks ago. Enjoy, what ever it means to you!

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whites in paint

Having enjoyed putting the red palette together I have made a more neutral one using the white end of the Farrow & Ball paint chart and a number of ‘finds’ I have in the studio, reminding me of happy times away from the city. The subtlety of the shades and hues of white are beautiful. The textures of the grasses and feathers work really well with the paint and paper qualities too.

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seeing red

My world is pretty colourful; on a daily basis I’m in contact with colourful textures, materials and surfaces from fashion, interior and architectural contexts. Not only do I work with hard and soft surfaces in my design practice, I also teach undergraduates to work with colour in relation to textile design. It’s important to see beyond the broad definition of colour by name and to think about the context of colour; the surface qualities in that colour, the effect the material has on colour, such as gloss, matt and opaque for example.

Last week I managed to update some colour charts in my studio resources and it made me think about how we tend to have particular favourites when it comes to colour. I certainly have a comfort zone in sections of the colour charts and other areas I’d have to be persuaded to go near. Commissions often include discussions with clients about the intended colours of products, and I enjoy the challenges of pushing the boundaries of my comfort zone – within reason! I have a different palette I’m happy to wear compared with what I’d live with, and I certainly dress in colour relating to the mood. I remember many years ago dressing in very colourful clothes only to receive a rejection for something that mattered. I felt gutted I’d dressed for the wrong outcome!

Here are some REDs… I love the border colours between red and orange.

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blue

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Horsey, Norfolk.

December 2016

a fine line

Once again, and not a surprise, a trip back to my homeland of Norfolk this Christmas resulted in me taking many photos of the beautiful horizon lines, across fields, marshes, the broads and beach.  Stunning light resulted in ever-changing colours that really showed the landscape off at its best.

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season’s colour

A beautiful pocket of Norfolk provided this colour palette for us at the weekend. Surrounded by greying reeds and rotting down leaves the bright sunshine lit up the sulphur-yellow lichens, orange shooting willow whips and mauve feathery seed heads of the reeds. The more we looked the more colour we saw. I took several photos and as I focused the lens on details the overall variety of colour and tones were lost, hence the palette I’ve made here.

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If you ever get the chance to visit, I strongly recommend this place. Wheatfen is a nature reserve in Norfolk, managed by the Ted Ellis Trust, founded to continue his valuable work in raising awareness of this fragile environment and to make accessible this landscape for others to learn about and to enjoy. It doesn’t feature dramatic mountain passes or high waterfalls, but for me it is perfect. If you are lucky, as we have been over the years, you might spot an otter, a heron or a Swallowtail butterfly, and lots of reeds! It’s a pocket of tranquility that I could lose myself in for hours.

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