Serigraphs are silkscreen prints.
Each serigraph is printed using of a series of many color layers. With mine there are sometimes as many as ten layers. For each combination of color layers, I usually make a set of 20 to 30 identical prints. Then I will switch to a different collection of colors and print a new set. So, for each angel image, I will print 3 or more sets or versions (i.e. Libretti I, Libretti II, etc.)
The Process
First, I make stencils which will be used to develop the silk screens which have been coated with a photo emulsion. The screens will then be used to print the images on paper. I use two types of stencils, Kodalith and inked mylar.
Kodalith Stencils
I start with photo negatives of angel statues and other images. These are used to make black and white, high contrast Kodalith stencils. To make the Kodalith stencils, I use Kodak kodalith ortho film, type 3 #2556 (catalog #193 7507). The sheets are 8 x 10 inches. Using one of the negatives (color ones work OK too), I expose a sheet with a black and white enlarger at f8 for about 10 seconds (this will vary). Then I develop it using Kodak Kodalith Super RT developer (catalog # 155 9556). This will take about 1 minute at room temperature. The stop bath will take another minute. Then on to the fixer for 3 minutes. The sheets are then left in a water wash for about an hour and then air dried.
Inked Mylar Stencils
The inked mylar with pen and ink on clear mylar transparency film. I use brush or pens and india ink.
Screen Preparation
The screens are coated with Ulano brand 569 high resolution photo emulsion (Ulano 255 Butler St., Brooklyn, NY 11217) and air dried in a dark place. A different screen is used for each stencil. They are then covered with one of the stencils and then developed with UV light on a glass table for about 15 to 45 minutes depending on the effect desired. Note: you can use the same photo stencil using different exposure times to make more than one screen to create depth in an image. A strong stream of water is used to remove the non-developed areas (places where the black stencil prevented the light from reaching the screen). After the screens are dry, they are secured to a printing stands.
Printing
Good quality, stiff, paper is registered under the screen and an oil based ready mixed silk screen ink is pressed through the screen using a squeegee. The background layer is printed first for the entire set (I start with about 35 or so to allow for mistakes along the way in the subsequent layers). The screen is then cleaned and the print is left to dry. This process is used again to print on top of the background layer with the next layer, and so on. I have been using Summit brand Zephyr Redi-Mix screen inks (Summit Screen Inks 201 E. 16th Ave., North Kansas City, Missouri 64116).
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Stephen Pacheco