Every screen printed image begins with creating a screen. This can be done in a number of different ways using various processes, but no matter which way we go about it, the end result is a stencil on mesh. In Roger's project we used digitally printed films and some of those films we hand composed directly on the screen to create images that were more human.

UV light is used to expose the film pieces to a light sensitive emulsion (the green on the screen). Once exposed the screen is then washed with water and the areas where image information existed on the film rinses away easily to produce open areas in the mesh. The remainder stays fused to the screen. Here you can see Roger washing out one of the image screens used in the project.

When the screen creation is complete you have a final result of a perfectly rendered stencil fused with the fine mesh of the screen. Through this stencil we can pass ink. We used this one for the exhibition edition print – "Feed The Beast"

When printing, ink is applied to the screen and a rubber squeegee is used to pull the ink through the stencil.

Using consistent pressure and speed during the pull of the squeegee is important to getting consistent impressions. That said, even with the best intentions, the process of hand-printed silkscreen prints inevitably offers moments where slight differences from impression to impression can take place.

And of course, as the prints get larger sometimes we need more hands to move them all around!

With the current setup here at Smokestack, we often hang larger prints vertically. One reason is because of the smaller size of our drying rack, but also it gives a slight bit of tension as the prints dry. We've found that just a little bit of gravity in the mix produces a flatter print as the layers of ink build.

In Roger's project work here at Smokestack we made use of a fun gilding technique. This allowed us to have pops of shiny gold elements within the image.

To achieve the gilding, we first started with printing a very tacky adhesive. This formulation remains tacky indefinitely and gives us a long working time between printing the adhesive and subsequently applying gold leaf.

With the adhesive now printed on the surface of the print we then add gold flake to the surface. We chose to use flakes of gold as opposed to sheets because it offers a distinct textural quality that really added energy and movement to the work.

The gold flake sticks to the adhesive areas and remains free to move areas. When a soft brush is manoeuvred over the surface of the the gilded areas the un-stuck flake goes away while the rest is constrained to the ahesive image areas.

Slowly and carefully the image is revealed as a beautiful gold rendering!

After time and care of applying the gold flake and gentle brushing and burnishing we arrive at a finish that plays with light and texture in really exciting ways and is unlike conventional ink application.

And of course when all is said and done, there's the final care to make sure that these works of art are trimmed, brushed, ready to show!