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The Good Stuff

Writer's picture: Bonnie LeeBonnie Lee

One of my favorite teachers is Rob Clayton. He has retired already. But I remember all the things he taught me. One is never to throw any scraps away. Those are the good stuff. Preparing to teach my class and workshop, I tried to combine analog and digital. During the pandemic, Rob taught an online workshop on gel plate printing. It was the most addictive and mesmerizing process. There were many opportunities to play, mess up, and try again. I want to incorporate the handmade into risograph printing.


Cutting Shapes for Gel Plate Printing
Cutting Shapes for Gel Plate Printing

The staff were required to work remotely because of the fire situation, similar to the pandemic period when we held classes online. Without the 1.5 to 2-hour daily commute, I could focus on developing and experimenting with my artwork. I used this time to revisit gel plate printing and create shapes and textures for students to explore when we return to the MakersLab in two weeks.

The risograph interprets images based on value but reproduces them in color, which can be difficult for students to understand. Often, students come to the lab with a full-color image, necessitating time for color separation. We use Spectrolite and Photoshop to achieve this separation. By utilizing the various shapes and values from gel plate printing, students can directly scan them on the risograph to make images like the one below.

Riso Dessert Bar
Riso Dessert Bar

Previously, I created a variety of shapes and patterns with gel plate printing. I'm eager to utilize the risograph's scanner bed to scan them and observe the outcomes in different colors. The ink requires time to dry. I used Akua intaglio ink to print the shapes. Nowadays, students often rely on digital techniques to produce new images. Although manual methods are more time-consuming, the unforeseen joys discovered during the process make it truly rewarding.


Gel Plate Printing with Shapes
Gel Plate Printing with Shapes





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