Through the screenprinting process I was able to experiment with the intensity and transparency of each of the blue and red colour inks. I worked upon different surfaces too and the interplay with the inks on papers produced varying results. For example, the texture and smoothness of the ink was inconsistent across the different surface types. Through a process of trial and error with each surface, I gained the colour intensity and balance I wanted.
The registration of each colour layer was difficult to constantly achieved and I had several mistakes where the alignment was off. This made some interesting ‘glitches’ very similar to my digital GIF experiments earlier in the project.
The printing on lens tissue was also incredibly difficult, the surface being so lightweight it stuck to the screen after the ink pull and proved almost impossible to align under the acetate template when it got to the second layer. I worked through this by loosely attaching the lens tissue to a more rigid and maneuverable paper surface. I was able to then trim and remove the print from its temporary backing afterwards.
Although imperfect and containing smudged ink, I really liked these outcomes of the smaller prints. In tandem with my larger prints, I realised my approach to an openness of imperfection. These little flaws in my printwork felt like they added something more raw and honest – These ‘mistakes’ becoming part of my working aesthetic and thinking.