Art Adventure: Screen Printing Workshop with Laura Slater at The Art House, Wakefield

On Thursday, 8th June 2017, I managed to get a cancellation booking to do a screen printing workshop with Laura Slater at The Art House in Wakefield. A few days beforehand, I got the cancellation booking on the Monday morning, I received an email explaining that I needed to have my image ready to print. This meant having the master image and then separating it into the different colour layers that were to be printed.

At first I was going to do my screen print of my cute cartoon cat characters so then I could experiment with different colour combinations, but while I was sketching them out my little doggy Jeffrey kept looking at me as if to say “why are you doing cats when you could be doing a picture of me?” So I did a few sketches of him then painted my final master design and made the separate colour layers ready for Thursday morning.

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The first thing we did on the Thursday morning was prepare our screens by applying a light-sensitive emulsion to the surface then leaving it to dry. While it was drying we photocopied each separate layer of our design onto acetate, doubling each layer up to make them even more opaque to stop the light getting through.

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Once the emulsion was dry and the acetates ready we could then use the exposing machine to transfer the designs onto the screens. We did this by putting the acetate, with the design the correct way round, on the glass top of the machine. The screen was then placed emulsion side down on top of the acetate and the rubber lid lowered over them.

Next the vacuum was turned on so the rubber lid formed a tight seal over the screens, stopping any movement that could happen during exposure, then the shutters on the exposure unit were opened so the light could get to the coated screens. These were left open on a preset timer so that they were exposed to the light for the correct amount of time.

After the screens had been exposed we then needed to wash away the areas that had been shielded from the light by the design. This is how the photo process works, the light- sensitive emulsion gets baked onto the screen when it’s exposed to the light. Any areas that weren’t exposed to the light due to the design blocking it out doesn’t get baked. These areas can then be washed off to let the ink through when printing. That’s why it works better to do your design in black to make it as opaque as possible to stop the light getting through.

While the screens were drying, after having the unbaked emulsion washed off, the next job was to mix the inks ready for printing with. I needed a background colour, obviously I went for purple which I made light to contrast with the darkness of the black and grey, then I needed a black and a grey for the body. In my original design I had a black body with grey highlights for the ears and nose. Sadly I had to change this slightly and swap them round as the grey wouldn’t have shown up printed on top of the black, but apart from the eyes I don’t think that it negatively affected it too much.

Once the screens were dry and the ink mixed then we were ready to start printing. As the layers needed to print on top of each other I started by printing my background. I was doing edition printing, this meant that I’d been printing the same thing over and over again so I’d have a set of prints that were all the same. The joy of hand printing means that each one would still be slightly different though.

After the background was printed they were left to dry and I cleaned the ink off the screen. I could then set up ready for the next layer of printing. This meant securing the screen in the hinges that held it in place on the printing board, then lining up the background image to the screen so that it would print in the right place. Using masking tape on the corners of the paper to help register the next one in the same place.

You may remember from the blog post that I wrote a few months ago about my older work, read it here, that when I was studying A level printmaking I always felt that my registration let me down. So it was nice when Laura told me that it’s those things that make hand printing different to being perfectly printed by a machine. The so called mistakes or errors make each one unique even when it’s part of an edition. This made me feel a lot better and more positive towards that older work.

For the last layer of printing I again had to line up the paper with the new screen, using masking tape to help register the rest to the same spot. Also using the acetate print outs to help with this step too. Then it was time to leave them to dry and wash up the screens etc.

I really enjoyed the workshop, it was nice to go back to screen printing after the 15 or so years since I did it at college.

Till next time

Take care

Purple Faye x

purplefaye.co.uk

Making of Douglas and Oxo 3D acrylic painting doggy portraits by artist Purple Faye

A couple of years ago, when I was in the Artworld 2 Gallery in Wakefield, I got a commission to make 2 small 3D acrylic paintings of doggies called Douglas and Oxo. The lady who commissioned them chose the background colours she wanted plus as an extra request she wanted the names painted on the canvas too.

I took these pictures as I was making them to show the process of how they were progressing. I started by drawing each one on cardboard, working from the photos she had sent to my phone. I then cut out the cardboard and sculpted it into layers to make the drawings 3D. Next I put modroc on to add texture and provide a solid base so then I could paint them with acrylic paints.

When she came to collect them from me at the gallery she was delighted with them. If you would like me to make a 3D acrylic painting of your dog or anything else then email info@purplefaye.co.uk

Till next time,

Take care.

Purple Faye

purplefaye.co.uk

Making of the “Jez” and “Ginge” kitty cats 3D Acrylic Paintings by artist Purple Faye

Here’s how I made the “Jez” and “Ginge” kitty cats 3D Acrylic Paintings. They are what I made as part of my demonstration at Holmfirth Art Week this year (which you can read more about here.)

The inspiration for them was the cute cats in the app game Neko Atsume (Cat Collector). I really liked how their simple design still looked cute. It reminded me of some of my earlier work where I gave the cats and dogs big cartoon eyes and I decideed that it was something that I wanted to return to.

Originally I was going to do a few in different poses, I am still going to do some more, but for the purpose of the demonstration I felt that I could show the process more effectively by having them in the same pose but with more subtle differences in size, texture and colour.

Last year when I did the demonstration at Holmfirth Art Week I showed the first few stages up to putting the modroc on but I didn’t do any painting, so this year I wanted to prepare some that were already at the painting stage so I would be able to demonstrate that part too.

My plan was to have one at each stage so that when people visited at different times of the day they would still be able to see the full process.

I started by drawing the basic outline of a cute cat on cardboard and cut it out, I then used this as a template to make the rest by drawing round it onto more pices of cardboard.

When it came to cutting these new cats out I’d change the shape slightly so each one would be slightly different then made them 3D in the same way by using more cardboard.

When I put the modroc on I gave each one a different texture using techniques such as scrunching, scoring and smoothing so that I could show what the modroc could do. I then left these to dry and sanded them before taking them to the demonstration.

If you would like to make one for yourself you can do so in a workshop with me at my studio in Pontefract, WF8 1PE (above Wetherspoons)

Contact info@purplefaye.co.uk

You can buy a kit from me directly, The Picture Box Gallery in Wakefield or from my shops on etsy and folksy.

etsy.com/uk/shop/PurpleFayeShop

folksy.com/shops/PurpleFaye

You can see videos of this on my youtube channel too youtube.com/purplefayecouk

I’m hoping to make some more 3D Acrylic Paintings of cute kitty cats with love heart noses soon.

What cat poses and colours should I do? Would you like to see more dogs and other animals done like this too?

Let me know in the comments below.

Thanks

Take care,

Till next time.

Purple Faye x

purplefaye.co.uk

How I made the “Spitfire MK VB” 3D Acrylic Painting

Here’s how I made the “Spitfire MK VB” 3D Acrylic Painting…..

A bit about the Spitfire:

“The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries before, during and after the Second World War. The Spitfire was built in many variants, using several wing configurations, and was produced in greater numbers than any other British aircraft. It was also the only British fighter to be in continuous production throughout the war. The Spitfire continues to be popular among enthusiasts, with approximately 53 Spitfires being airworthy, while many more are static exhibits in aviation museums throughout the world.

The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works, which operated as a subsidiary of Vickers-Armstrong from 1928. In accordance with its role as an interceptor, Mitchell supported the development of the Spitfire’s distinctive elliptical wing (designed by B. Shenstone) to have the thinnest possible cross-section; this enabled the Spitfire to have a higher top speed than several contemporary fighters, including the Hawker Hurricane. Mitchell continued to refine the design until his death in 1937, whereupon his colleague Joseph Smith took over as chief designer, overseeing the development of the Spitfire through its multitude of variants.

During the Battle of Britain, from July to October 1940, the Spitfire was perceived by the public to be the RAF fighter, though the more numerous Hawker Hurricane shouldered a greater proportion of the burden against the Nazi German air force, the Luftwaffe. Spitfire units, however, had a lower attrition rate and a higher victory-to-loss ratio than those flying Hurricanes because of its higher performance. Spitfires in general were tasked with engaging the Luftwaffe fighters (mainly Messerschmitt Bf 109E series aircraft which were a close match for the Spitfire) during the Battle.

After the Battle of Britain, the Spitfire superseded the Hurricane to become the backbone of RAF Fighter Command, and saw action in the European, Mediterranean, Pacific and the South-East Asian theatres. Much loved by its pilots, the Spitfire served in several roles, including interceptor, photo-reconnaissance, fighter-bomber and trainer, and it continued to serve in these roles until the 1950s. The Seafire was a carrier-based adaptation of the Spitfire which served in the Fleet Air Arm from 1942 through to the mid-1950s. Although the original airframe was designed to be powered by a Rolls-Royce Merlin engine producing 1,030 hp (768 kW), it was strong enough and adaptable enough to use increasingly powerful Merlins and, in later marks, Rolls-Royce Griffon engines producing up to 2,340 hp (1,745 kW); as a consequence of this the Spitfire’s performance and capabilities improved over the course of its life.” taken from en.wikipedia.org

“The VB became the main production version of the Mark Vs. Along with the new Merlin 45 series the B wing was fitted as standard. As production progressed changes were incorporated, some of which became standard on all later Spitfires. Production started with several Mk IBs which were converted to Mk VBs by Supermarine. Starting in early 1941 the round section exhaust stacks were changed to a “fishtail” type, marginally increasing exhaust thrust. Some late production VBs and VCs were fitted with six shorter exhaust stacks per side, similar to those of Spitfire IXs and Seafire IIIs; this was originally stipulated as applying specifically to VB(trop)s.[82] After some initial problems with the original Mk I size oil coolers, a bigger oil cooler was fitted under the port wing; this could be recognised by a deeper housing with a circular entry. From mid-1941 alloy covered ailerons became a universal fitting.” taken from en.wikipedia.org

 

If you have any further questions about how I made it then please feel free to ask or just let me know what you think about it,

comment below or email info@purplefaye.co.uk

 

Till next time,

Take care

Purple Faye x

purplefaye.co.uk

Making of the “Baby African Elephant” 3D Acrylic Painting

I started to make the”Baby African Elephant” 3D Acrylic Painting in June/July to take to Holmfirth Art Week as part of the demonstration I was doing of how I make my work. I wanted to take some work in progress pieces┬áto help show the process I use to make my work. Since then I’ve been using it to help explain my technique to visitors to my studio in Pontefract but I wanted to get it finished finally. Here’s how I did it.

Watch the video on youtube

https://youtu.be/IG04AkxyPDM

I love to get your feedback so please leave a comment or get in touch info@purplefaye.co.uk

Till next time

Take Care

Purple Faye x

purplefaye.co.uk

Making of the “All Saints Church 2” in Pontefract 3D Acrylic Painting by Purple Faye

The making of my most recent 3D Acrylic Painting of the All Saints Church in Pontefract, West Yorkshire.

A little history about the All Saints Church –

There has been a church on the site or close by since Anglo Saxon times, it even featured in the Domesday Book survey in the year 1086. The present church was built around the 1300s, but only a few parts of that church now remain. In 1536 when Henry the 8th announced dissolution it sparked an uprising known as the Pilgrimage of Grace, many supporters went to Pontefract to establish themselves in the nearby castle. The then Archbishop of York was preaching in the church at Pontefract and asked for moderation, this had a reverse effect on the congregation and they dragged him from the pulpit and off to the castle. When the civil war took place the church was constantly changing from one side to the other and at one time was reported to have been hit over 60 times by cannon balls. In fact during recent renovations one was found still embedded in one of the walls.

This is the first 3D Acrylic Painting I’ve made in my Pontefract studio as part of my Ponte Project

The next one will be Pontefract Castle so look out for the work in progress of that on Instagram/Facebook/Twitter

(@purplefayeuk/purplefaye.co.uk)

Don’t worry if you miss it as I’ll be showing the complete process in a blog post like this too.

Till next time

Take care

Purple Faye x

purplefaye.co.uk

Dexter and Damien: the first 3D Acrylic Paintings made in my Ponte studio

Now I’ve properly moved into my new studio in Pontefract, and had my open evening to give people the chance to visit/see my tactile, sculptural and unique 3D Acrylic Paintings, it’s time to get to work making more to show you.

Since part of the reason for needing the studio space was to give myself some room to work away from my ever so cute but not so helpful cats it made sense to me that the first pieces I made there was of them.

Here’s how I made them from cardboard and modroc….

 

In case you were wondering why there’s only 2 paintings when I have 3 cats Naughty Norman fluffycat had his picture done while I was still in the pop up shop in Castleford a year or so ago. I’ve been meaning to get round to making Dexter and Damien theirs and now seemed like the perfect opportunity.

If you’d like a 3D Acrylic Painting making of your cat let me know, info@purplefaye.co.uk

Till next time
Take care

Purple Faye x
purplefaye.co.uk