Limited Edition Screenprint
A limited-edition A4 screenprint of our much-loved care label.
Screenprinted by Dan Mather in London on a heavy 1.5mm uncoated board.
Each print will be hand-numbered in the order they're sold.
Available until 9PM 20th of June. Never to be reprinted.
10% of profits go to Black Lives Matter UK.
Made to order. Shipping from mid July.
Prints for Europe and Rest of World will be safely shipped via the Royal Mail’s tracked service.
The first 100 prints sold are ready to ship. Prints from No.101 onwards will ship from mid July.
A FIRST. AND OUR LAST.
Our little care label has gone kinda viral in the last few months. So to pay homage to it, before we move on to a new label, we’re making it into our first ever print. Once the print is done, the label will be gone forever. Time for something new.
After sampling a few options, we chose this 1.5mm board for it’s tactile quality, off-white colour and it’s heavy nature. We were keen on the print being able to lean against a wall, and not necessarily need to be framed.
FROM SCREEN, TO PRINT
The literal process of taking artwork from a screen to a tactile and tangible silkscreen print - by Dan Mather.
“After initially seeing 'the label' on Paynter’s Instagram account, I ‘liked’ it, and appreciated the sentiment. I felt compelled to (and I very rarely do this) write to Becky, suggesting we make it into a print. To bring it from an iPhone screen, to a beautiful A4 silkscreen print. I wrote a brief email highlighting how I was thinking out-loud, not over thinking or worrying about it, and pressed send. To my delight Becky agreed, and we picked up the phone to discuss more personally. And so began the Paynter Print.”
First, we tweaked the artwork for A4, then sent it off to the film supplier on the Old Kent Road. They produce the finest imageset films for silkscreen, over the past decade we’ve formed a great relationship and I can always rely and trust they’ll meet my exacting standards. Once ready I collected in person (safely) on my Brompton. I like to do as much transporting of materials as I can on my bike, it not only gives me time to think about projects but ensures I safely get the goods back to work and promptly. Bike is best!.
Then I set about making the screen. To prep the screen, I wash and degrease any residue from the mesh. Once clean and dry, I apply a smooth layer of photosensitive emulsion onto the mesh. This is carried out in a light safe room, very much like the darkroom process using traditional negatives. The emulsion is baked and cured in a drying cabinet, effectively a massive oven for screens.
Now the emulsion is dry, it’s time to expose the artwork onto the screen. This is done with an exposure unit and the film I collected earlier. When the UV rays are turned on, the film is sucked down onto the screen, and after 5 minutes, the photosensitive emulsion hardens, leaving only the 100% black parts of the image: the lettering and graphics. Those areas remain unexposed and can be washed off. Once rinsed, I’ll look for any pinholes and touch them up with emulsion and a paint brush, and expose the screen again, carefully making sure nothing is interfering with the image.
Now I can proof the print, to check colours and ensure the print table is setup correctly. My wonderful print table is a Kippax hand bench, made to order, in West Yorkshire by hand. It’s my pride and joy. The top frame opens and closes in a clamshell fashion, opening and closing a vacuum on the base of the table, which draws air through lots and lots of holes - holding the paper in place when printing.
I tested lots of reds, and although there was a Pantone, we wanted to push the vibrancy as much as possible and tweak the formula slightly to really make it sing. Once a few had a been tested it was clear which colour to go for, all of us simultaneously picking the same one without hesitation.
Once the red and black had been proofed and signed off, I set about printing the first 100 in the edition. Black ink first. The ink is pulled across the screen by hand with a squeegee, ensuring the correct amount of pressure and speed is achieved to print as crisp as possible. The ink is pushed back to the top with a flood stroke, ready for the next print. Repeat until all sheets are printed and arranged on the drying rack.
The following day the prints are dry and ready for the second colour to be printed. Our agreed Paynter Red. The same screen is used by simply masking the black parts of the screen, ensuring only the red text will print this time. The screen and sheets are then registered to each other, making sure the layers align and match the original artwork. Millimetre precision here, in-fact I coin the phrase “I live my life a 1/4mm at a time”.
There’s a huge sense of relief and satisfaction when you’ve finished printing all the colours on a print, it’s something to admire seeing them all on the drying rack and the ink on these prints really stood well against the lace white board. Very happy. Now to clean the screen and equipment and let the prints dry for a day before trimming them down to size.
A couple of days later I cut each sheet down on an electric guillotine, ensuring none of the beautifully thick material got damaged. Trimming all four sides of the sheet, presenting the final A4 print in all its beauty, and the best bit of all, leaning one against the wall and the material doing what I wanted. Standing strong and proud.
Finally the prints are carefully boxed and packed with acid free tissue between each print, and prepared for Becky and Huw to collect. I even print the packaging that I wrap the prints in, so the parcel is immediately identifiable as 'The Print'. And that's the first 100 prints complete.