Recent Work: domain shifts from paper to clay

 

 

 

 

After I made a series of hand-cut stencils, I started to explore ways to quickly make more elaborate, and hopefully, reusable stencils and resists. I started to teach myself how to use Inkscape, which is a freeware vector graphics program that is somewhat similar to Adobe Illustrator. I needed to learn to work in a vector graphics format so that I could generate and alter images to cut on a small vinyl cutter that I bought for my clay work. The software that runs the cutter works best with SVG files, vector files. Vector graphics are different from other images in that they are made from paths with nodes, rather than pixels. The end result is that a vector graphic can be magnified to any level without breaking up or distorting from pixelation.  My previous post shows some of the early results of that work.

Much of the imagery I have been working with has been natural elements like rock textures, floral imagery, and botanical drawings. But I also did some work with portraits, more on that later.

To create a stencil that separates the gradients of color in this now simplified image, I created paths by tracing the bitmap using a small number for the color quantities. The TraceBitMap function is a basic part of all vector graphics programs. This yields a recognizable monochromatic  image with a small number of distinct tones. Each of these tones is contained within the discreet loop of a path which I separated into different files by selecting, copying and pasting. This makes a set of stencils that can layer and create a complete image.

Many thanks to Travis Jannsen, from the printmaking faculty here at SIUC. His input on using repositionable adhesive spray to mount my paper stencil to the paper carrier worked brilliantly. It still took many weeks of trial and error to create a simple system for making the stencils. Also, his suggestions about brayer choices for color application were a real help. To further refine the stencil, I would like to experiment with spraying the paper stencils with a poly or sealant coat in the hopes of extending their longevity, though the absorbent nature of the paper does seem ideal in making the stencil firmly adhere to the wet clay.

The final set of stencils is three layers, here, spread out over four images. These layers of paper cuts, when properly stacked, can “print” the complex image of the chrysanthemum with only four gradients of tones.