26 piece(s) in the gallery
Eyvind Earle (1916-2000) was employed early in his career as a Walt Disney illustrator, Christmas Card creator, and eventually, a mystical painter of the California countryside, in particular, the real estate that lines Highway One up and down the California Coast otherwise known, in part, as BIG SUR.
One of Eyvind's beliefs which he garnered from Chinese artistic philosophy was that one should "Never paint anything for at least a year after you've seen it". Thus, his painting from imagination or memory led him to create compositions which ranged from surrealistic to minimally abstract, but, always strikingly, colorful.
Eyvind's serigraphs which Palette will be displaying are from along the California Coast. As we have all driven along Highway One, at one time or another, and seen the stunningly breath-taking views, one must consider this geography to be "Eyvind Country". His country features cows grazing on dried mustard grass on steep inclines in a variety of weather patterns: golden sunshine, mist, and fog.
When looking at "Soft Green Meadows",a person is left with the impression that he is viewing an original painting rather than a serigraph for at least two reasons. In the center of the green meadow, the layered swirls of green color appear to have depth. As well,this print glistens, which heightens its impact on a viewer and gives the impression of uniqueness.
Lynne Cook who originally printed this fine work in 1992 was questioned regarding the printing process utilized in creating this edition.According to Lynne:
One must consider that "Soft Green Meadows" was printed in 1992 before its publisher got a semi-automated press,which reduced the need for hand-applied pressure, and its color separations were done by hand.
It was printed with oil-based ink and this could be a reason for its glossier appearance.
These are both reasons why there is such a marked difference in the layers. (Hand-applied pressure and oil-based ink). The only times I pulled the color twice or more was if on the first pull, I didn't use even,or enough, pressure, and (another pull) was needed to get a proper (ink) deposit. I think we must have all had huge biceps, then, as a result of all of our pulling! We would each work on a different serigraph,sometimes pulling around 1000 times a day depending on the number of colors and the size of the edition.
In that time period, before Newman roller screens, we didn't use such a high(screen) mesh count as 305 or even,205. Screen mesh counts for editions such as "Soft Green Meadows" were more like 190, with the mesh being stretched on wooden screens and stapled. It was sometimes difficult to maintain proper registration as the screens were stretched and stapled by hand and the paper shrank and grew depending on a room's humidity or dryness. I didn't have much problem with the registration on this particular piece, though, I was concerned that I had built up a large ridge between the background and foreground fields. That didn't turn out to be a problem though, and added to the(layer) dimension.
What is a serigraph?
A serigraph, or silkscreen print, is one of four major divisions of printmaking. The process involves pushing ink through a screen with a squeegee.
There are few steps of how to make a serigraph:
Step 1: The printer uses a piece of silk, nylon or polyester stretched tightly across a wood or a metal frame to form a screen.
Step 2: Both sides of the screen are coated with a liquid photo emulsion and allowed to dry completely.
Step 3: A color separation is created by laying a sheet of transparent acetate over the painting and using a brush or a pen with opaque ink by copying the color that will be printed. A separate color separation is usually made for each color.
Step 4: The coated screen is placed on a vacuum table with the color separation in front of the screen. The screen is exposed to light for a specific period of time to create the stencil.
Step 5: The screen is washed with water pressure to remove the photo emulsion from the areas that will be printed and where the color separation blocked the exposure light. The emulsion will remain in non-print areas so the ink will not pass through. The image of the color separation will appear ghostlike in the screen.
Step 6: After the screen has dried, it's hinged to the press. The flat bed of the printing press has 3 registration marks that will not move and will guide the printer where to put the paper so the registration will be the same on each print. The printing table has an air vacuum which helps to hold the paper during printing.
Step 7: The printer will put the ink on the screen and, with a squeegee made of rubber, will flood the paint over the screen.
Step 8: The screen is set down to make a contact with the table and the printer will push the ink through the screen with the squeegee.
Step 9: The screen is raised up, then the printer will remove the paper from the table and inspected carefully, then it is put on a rack to dry.
Step 10: The printer puts another sheet on the table in the same position using the registration marks and repeats the process on all the sheets of paper that he was decide to print.
Step 11: Usually, the serigraphs are coated with one or two coats of varnish. Since 1991 the serigraphs are coated with UV paint. This will protect the image from scratches. As far as the record goes Eyvind's serigraphs were the first ones in industry to be coated with UV transparent paint.
Step 12: The edition will be signed and numbered after a thoroughly check for scratches, dents or major imperfections.
Information provided by EyvindEarle.com
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