SCREEN PRINTING
Including hand-drawn and photographic techniques.
Screenprint Video Tutorial: Making an Image and Screen for a One-Color Print
An introduction to hand-drawn imagery for screen printing, using tracing paper, India ink, and an opaque ink marker. Also demonstrates exposing a screen to UV light, processing, and printing.
Susanna Crum, 2020.
Intro to Screenprinting: Printing a Direct Stencil with a Split Fountain
In this video, I print a direct stencil that was cut by hand with freezer paper. I use a black-to-yellow gradient with a technique called a "split fountain," and cover cleaning up at home with a sink, dish soap, and a sponge.
Susanna Crum, 2021.
Screenprint: Working with Photo Emulsion
This video covers how to coat a screen with photo emulsion, prepare paper for pin (punch) registration when printing, and arrange films onto a screen for exposure. This is within a studio art context, where students create original screenprints for art and design projects. Emulsion is Ulano LX660 and I use a single-point exposure unit.
Susanna Crum, 2021.
Color Separations for Screenprinting with Direct Stencils
How to plan a four-color image for screenprinting with direct, hand-cut stencils made of mylar.
Susanna Crum, 2021.
Planning Color Layers with Photoshop for Hand-Pulled Prints
Using Photoshop to create a sketch layout and color separation for multi-color printmaking processes such as intaglio, relief, monotype, screenprinting, and lithography. I combine a photo and hand-drawn elements to create a mock-up on 9” x 12” document, the size of my printing paper when I make the hand-pulled print. Covers composition, color planning, and Split Channels function in Photoshop, which allows automated export of 1 file for each color in your image.
Channels allow a good reference for the relative roles of color within an image. Note that options for Split Channels are RGB (red green blue) or CMYK (cyan magenta yellow black). For printmaking applications, you can mix any color of printing ink you like, so why limit yourself to these “primary colors” of screen- and print-based digital images? For instance, you could use CMY channels as a guide for a turquoise, crimson, and yellow ochre 3-color print. Or a navy, hot pink, and orange print. While each would look different than commercial process colors, the relative roles of colors remain. You can use Hue/Saturation, Color Balance, and other adjustment tools in Photoshop to play around with the color palette in your image before you Split Channels.
Susanna Crum, 2021.
Working with Digital Images for Screenprint
This video introduces basic Photoshop tools to make an image with multiple layers. Includes Paintbrush, Clone Stamp, Quick Selection and Lasso selection tools, detailed removal of backgrounds with Select and Mask, and an introduction to how Photoshop layers function. The end product is an 8" x 10" image suitable for preparing films for screenprint.
Susanna Crum, 2021.
STUDENT WORK
Artebella
Spring 2018
Screenprint: Reclaiming a Screen
You should be able to use one screen for many, many images. Some artists use the same screen for years! To do so, you must reclaim a screen properly. This video covers how to reclaim screens that have stencils made of screen filler or photo emulsion. I'm using a garden hose sprayer, a pressure washer, a backlit washout booth, Ryonet reclaimer, Greased Lightning, Speedball Screen Filler, and Ulano LX660 emulsion. This process should be similar for different types of emulsion and solvents.
Susanna Crum, 2021.
Cleanup: Reclaiming a Screen
You should be able to use one screen for many, many images. Some artists use the same screen for years! To do so, you must reclaim a screen properly. This video covers how to reclaim screens that have stencils made of screen filler or photo emulsion. I'm using a garden hose sprayer, a pressure washer, a backlit washout booth, Ryonet reclaimer, Greased Lightning, Speedball Screen Filler, and Ulano LX660 emulsion. This process should be similar for different types of emulsion and solvents.
Susanna Crum, 2021.