[062146 FEB 18 #misprintstate]
I made this almost a year ago, one of the first few ‘Misprints’ where I taped parts of it and drew over the print with graphite on wet ink. © QAYSI. All rights reserved.
I made this almost a year ago, one of the first few ‘Misprints’ where I taped parts of it and drew over the print with graphite on wet ink. © QAYSI. All rights reserved.
Source images are from Misprints documentation, tagged as #misprintstate, previously existing solely as digital photos. I’m able to transform these into physical prints through the process of copper plates, film, acid baths, and diverse inking techniques, thus recycling the Misprints states via printmaking. © QAYSI. All rights reserved.
For the past two months, I’ve developed several Misprints, pushing the process to its limits and often destroying the print. Now, I only have photo documentation of the process, labeled as #misprintstate. Additionally, using a modified inkjet printer on a geared flatbed enables multiple passes on the same aluminum plate …
Source image: Mosul, Iraq. February 26, 2014. I’ve added “state” to the title of certain misprints to document their various stages. This term, borrowed from traditional printmaking, indicates a specific stage of the plate. Another concept introduced into my process is “matrix,” which traditionally refers to the substrate—like a plate or …
I’ve sanded down and reworked this Misprint state. The use of 1/4 inch aluminum plates has introduced new challenges, making it difficult to predict the final print’s appearance. However, this uncertainty, especially with the modified inkjet printer, adds an intriguing and unpredictable element to the process. © QAYSI. All rights …
I’m working with water-based mediums to fix the ink on uncoated smooth film and mylar. In this Misprint, I used a gum Arabic medium I prepared myself, and it seems to work for the first few weeks, but after changes in humidity, the piece disintegrated. In the dark tones, the …