The proposal for the Process and Practises as Research project, below is pdf screenshots of the intended project and how it will be structured.
This is the first experimentation that I carried out in this project, it used mind maps and my personal colour theory. My colour theory is not as knowledgeable as I would like hence the proposal of this project for me to look into transparency and opacity in print.
Having knowledge of the behaviour of the primary and secondary colours, it is key to also experiment and test ways that are spontaneous. But for myself to develop and expand my knowledge, interesting and challenging techniques need to be used to do this effective and benefit me.
In the proposal I did discuss a poster outcome of this project, but having being introduced into screen printing again in over 4 year, it felt logical and purposeful to record and present the result of physical printing in a small booklet. So the images taken from my sketch book is the develop of an idea of a layout with columns and page sizes. This was a rough layout with a tidied up appearance for if it is to be used later on and go against my proposal.
Visual research and expanding knowledge of designs and pieces of art that use the physical printing process of screen printing. This has been key to my understanding and an influence in ideas for my design concepts. Here is a list of artist and print makers that have been reference points and inscription to my interest. Kate Gibb, Ann Mellsgaard & Christian Gfellar (Re-Surgo / Berlin, Germany), Nick Butcher & Nadine Nakanishi (Sonnenzimmer), Brothers Alex & Chris White (WeThreeClub), Kate Shaw, Sigrid Calon, Jim O’Raw (Brighton University / People of Print), Mike Perry, Sarah Kennedy (Snug Interiors), Nick Sherman and Eddie Perrote (Acidie World).
Reading material is important and it has played a major role in my understanding of colour knowledge, some more than others. Particularly the colour theory of Josef Albers. His book, Interaction of Color, has explained the way colour behaviours in a different method as it does it in reverse. It shows you imagery and prints of colours that work in particular ways and then explains why it does this. This has been great information for me and my use of colour and design has benefited greatly due to Albers.
Different opacities of ink used in screen printing. The inks have been mixed by myself with different acrylics consistencies to give me different tints used in the images below. This has show that blue can behave different on colour tissue which allows movement of light and black card does not.
The red experiment in this project is the same as the above blue one it just shows a comparison between a harsh and soft colour hue.
A quick test that shows the colour behaviour of harsh and calm cover working together or against to show colour. The layering of circles on squares and squares on circles is a simple but a visually effective way to see the theory take place.
Colour gradients have been used to mix and create mixes of colours by the squeegee being pulled against the screen with the colour ink being different. Two colours and three colours have been used to demonstrate this.
This is the same experiment as above, however the squeegee has been pulled and turned into different directions to create this marble like effect. The colours have also behaved unexpected with colours appear in different positions and in different hues and transparencies.
Screen printing the final outcome for this project in the style of Josef Albers because he has been a key inspiration in my knowledge of colour expanding and understand the use and behaviour better. The use of screen printing has been great aid in understanding physical printing better, with layout and positioning on the bed to angle correctly to recreate the Albers diagrams in my own style.
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Framed physical screen print and digitally created prints that are in the style of Josef Albers.
© 2026 Oscar Hathaway