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the
process:
Experimental
Printmaking Process: Custom Substrate
Krause
Studio, Marshfield Hills, MA. 2001
A
2" square lenticular pin is being carried by the Gift Shop of the
Brooklyn Museum of Art. |
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"Happy
Home"
48x48 inches
©Dorothy Simpson Krause 2001
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"Happy
Home" was composed from two scans; a collage using a package of
"Happy Home" needles and an icon, "The Twelve Feasts of the Church",
from The Art Complex Museum, Duxbury, MA. |
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The
image was printed onto film using the Mutoh Falcon printer and Wasatch
RIP. A sheet of polypropylene was coated with inkAID™ and the print rolled onto it face down. The film
was removed leaving the transferred image adhered to the inkAID™
emulsion. |
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A
fresco surface was prepared by wrapping tape around a masonite panel,
pouring hydrocal plaster onto the surface and spreading and texturing
it with a large spackling tool. The emulsion layer, which can be handled
like a large "decal" when it is dry, was glued to the hardened fresco
surface and burnished down with encaustic. Touch-ups were made with
oil sticks and paint. |
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As
a separate layer, a lenticular print was added to the center of
the image. The book of needles and twelve frame icon were "interlaced",
(cut and reassembled in vertical strips by Flip! software), and
printed on Rexam clear film. A Coda laminator adhered the print
to a sheet of clear plastic with a series of parallel lens or lenticules
embossed into the surface. When the lens are aligned with the image,
the viewer sees only one frame at a time creating a sense of movement
as the viewing angle changes. Squares of metallic papers were added
from behind to give additional luminance. The lenticular overlay,
attached with brass brackets, creates both a physical and metaphorical
discontinuity between the sacred and mundane. |
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