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About The DVD:

Beyond The Digital Print with Mary Taylor

Plus Resource Information
(click here for Resources pdf)

ABOUT THE CREATION OF THE DVD
My journey into the world of digital printmaking began in 1997 when I started working for Dorothy Simpson Krause as her assistant.  Currently I manage her Viewpoint Studio and throughout the past decade Dot has become my mentor. I am extremely grateful that she has introduced me to the infinite possibilities when digital art is pushed beyond flat and into the world of dimension.  Over the years I have experienced the freedom to experiment and transform mundane materials into fine artwork.  I hope that you will receive from the Beyond The Digital Print DVD that same inspiration and freedom.

This DVD was recorded in my studio during the spring of 2007, by Filmaker, Ben Kerns. For over twenty years Kerns has been an explorer of light and human emotion.  Beauty in all it’s forms has lead him to create sensitive fashion & lifestyle photography for clients throughout the world.   As a filmmaker he has explored the depths of human emotion in all it’s forms.  Above all, Kerns seeks to affirm a deep commitment to the celebration of life.  I am very grateful to him for his support of my vision to bring my workshops to you via DVD. Check out Ben Kerns Photography & Films. BenKernsPhotography.com

It is my hope that you will be inspired to experiment and discover your own processes. Over time processes and materials evolve so there is no one correct way to make your art.  However some things do work better than others and I hope you will find my demonstrations helpful in your own creative journey. The processes shown are designed encourage you to think about alternatives to flat ready made inkjet coated paper and canvas. Today digitally mastered artwork no longer needs to be tethered to pixels on a screen, by blending humblest materials with an inkjet precoat and archival inks from an inkjet printer you can create works of art that have dimension and substance. 

On the DVD you'll see 4 techniques for preparing custom substrates using both traditional artists materials and more bold materials such as, sheet aluminum, polyester, vinyl spackling compound, mirror, acrylic medium, and inkAID™.

 

TECHNIQUE 1:Creating a Textured Surface on dimensionally stable surface.

Materials used in this project:

Sketch or picture of your image  (small print used as a guide)

Spunbonded polyester  or Tyvek dimensionally stable (won’t warp)

Molding / Modelng  Paste (alternative material Vinyl Spackling Compound)

Iridescent Pearl & Gold inkAID™

Paint brushes, old plastic cards

Gloves

Construction adhesive (alternative adhesive use gel medium)

Plywood Board for mounting the art work on.

Acrylic Paint for painting around the edges (not shown)

Use a dimensionally stable material as a base to build a textured surface with vinyl spackle or modeling paste.  Using the image Golden Acre we texture the surface of the custom substrate to suggest the field of grasses and the water flowing. The textured substrate is then painted with iridescent inkAID™ to allow for a glowing print on the vinyl spackle.   The image is tested in a slot ruler and run through the printer.  The final image was glued to a board and the edges painted to carry the image around the board.  

Golden Acre 12" x 12" ©2007

 

 

 

TECHNIQUE 2: Creating a Digital Emulsion Skin for a 3 dimensional object.

Materials used in this project:

Acrylic Liquid Medium

Plastic  Cutting mat

inkAID™ Type II clear

Brushes

Krylon Crystal Clear spray

3 Dimensional Object

Wax Paper

Packing Tape

Acrylic Gel Medium

Double Stick Carpet Tape

Template/ Carrier sheet ( made from any semi stiff paper, polyester, or film)

Create a digital emulsion skin that is thin, flexible and transparent.  The Branches images is printed on a carrier sheet, then removed and bonded to a framed mirror.   We use flexible cutting mats as a carrier sheet for the digital emulsion substrate and create a template for getting the cutting mat through the printer.  Using double stick carpet tape to secure the cutting mat to the template helps ensure the printer will read the transparent material and also allows for full bleed printing with out messing up the printer.

Branches 10" x 10" ©2007

 

TECHNIQUE 3: Painting with inkAID™ on  Black Paper

Materials used in this project:

Black paper (Arches cover works nicely)

inkAID™   Clear gloss Precoat Type II and Iridescent Pearl or Silver

Masking Tape (artists tape or other low tack tape)

Carrier Sheet

Brushes

Black paper painted with iridescent inkAID™, then tape around the edges for printing.   The curled paper and is taped down to a carrier sheet.  The image Zakim at Night is printed and the tape is carefully removed.  The carrier sheet is once again used as a template and as a method to print full bleed print over deckled edges without messing up the printer.    The print setup and dialog is explained with screen shots. 

Zakim at Night 12" x 12" ©2007

 

TECHNIQUE 4: Printing onto sheet Aluminum

Materials used in this project:

Aluminum sheet .010 thickness

inkAID™  Clear Gloss Type II

CitraSolv (or other degreasing cleaner)

Steel Wool  #0000

Krylon Crystal Clear

Brushes foam and bristle

Golden Hard MSA Varnish

Double Stick Carpet tape

Carrier sheet

In process four we learn how to handle sheet aluminum and prepare it with inkAID™ for printing on. The image Reflections on the Ridge is printed on the aluminum and then glued down to board.  To complete the piece the edges of the board was sanded and painted with acrylic paint to carry the image around the edges.

Reflections on the Ridge 12" x 12" ©2007