Centre for Fine Print Research University of the West of England Centre for Fine Print Research
 

Screen Printed Colour As  A Theoretical Model For The Development Of Inkjet Technology - Tate Database


funded by: Arts and Humanities Research board (AHRB)
project coordinator: carinna parraman
project duration: 01.09.2004 - 31.08.2005
DATabase example: eduardo Paolozzie

full database data export: TATe DATabase


The database has relevance and usefulness on two levels:
- as a method of recording useful and necessary information for my research and as an aid for future research.
- as a resource for the print registrars at Tate Britain and for academics visiting the Department.

A paper demonstrating this work was presented at the 4th Impact Conference Berlin/Poznan, September 2005 “The Collaborative Print Exchange as Visual Debate”

Identify a series of prints that can be used for colour measurements, which fulfil the requirements of the project: the use of tints, use of translucent colour, use of out of gamut colours.

Based on the recording of the prints at Tate, and gaining a thorough overview of work from the 1960s to 80s a selection of artists and prints were selected as case studies. A series of headings were then defined for the artists and their representative print, which included: description of the process in screenprint; recreation though inkjet - what is successful; problems - what is missing from inkjet; how this can be addressed? (see example sheet on Eduardo Paolozzi).

The artists selected were: Eduardo Paolozzi (1924-2005), Gillian Ayres (born 1930), Robyn Denny (born 1930), Patrick Heron (1920-1999), Peter Sedgley (born 1930), Gordon House (1932-2004), Bridget Riley (born 1931).

Investigate combining screenprinted opaque, translucent layers and multilayering in inkjet colour.
Taking Paolozzi as an example, colour measurements were made of his prints to look at how colour mixtures could be achieved through the combination of patterns, opaque inks and translucent inks. These colour measurements were then used as reference data for the recreation of inkjet and screenprinted prints. Using the colour data, areas of flat colour were inkjet printed with an overprint of screenprinted patterns. I created a series of prints that both informs this research and my own practice.

Inkjet tests have also been undertaken that investigates out of gamut printed colours, and how the inks can be modified to extend the colour gamut. Particular problems here are registration when overprinting and subsequent colour mixing and halftoning between colours. A series of templates were devised to test and develop solutions to these problems.