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We can trace the origin of serigraphy as far back as the fifth century when oriental cultures of that time made use of stencils. It is through a specialized printing process, using hand cut lacquer sheets as stencils, that the twentieth century silk-screen (serigraph) is produced. In the twentieth century, a printing frame (sometimes referred to as a silk screen frame) was introduced. A piece of silk is stretched on a frame to serve as a carrier of the hand cut stencil. The name of the art form comes from this process: seri for silk, and graph for drawing...in other words, a silk drawing or a serigraph. An original work of art or a sketch by the artist is the first step in the process. The serigraph artist then must, with his knowledge of color, and the combinations of color, cut a different stencil for each color to be used on the art work. Each color represented in the original artwork (or original sketch) is cut out of a thin lacquer sheet forming the stencil, which is then adhered to the stretched silk screen frame. The cut lacquer sheet(stencil) controls where the different colors will appear on the print. At times, the artist will place two colors or more on the same spot in order to produce another color. For example, using pink and a blue on the same spot will produce a purple. Once the stencil is cut, it is adhered to the silk screen on the printing frame. The artist then uses a squeegee to pull the color (paint) across the printing frame, which has been placed above the sheet of paper that will hold the art work. The paint is forced through the screen and on to the paper below. This process is repeated on all the sheets of the total edition, then the lacquer image (stencil) is removed from the silk; a process that destroys the stencil. The next stencil for another color is cut and adhered to the silk screen; and the next color is applied to the artwork. This process is repeated until all of the colors have been applied. The number of colors on a serigraph vary; usually they have at least 5 different colors, but they can also have 30 or 40 different colors. Thanks to its technical and creative potential, serigraphy became the favorite graphic media of Puerto Rican Artists during the 50’s, and has retained its popularity as we move into the twenty-first century. Originally, the printing process was used for promotional and educational applications, but as the posters that were produced this way became popular, the process of silk-screen making developed into a unique and independent art form. Because an edition usually includes from 50 to 300 prints, the artist can distribute his work among a more ample public, at a more economical price, when compared to one of a kind originals. An artist usually makes a limited edition of his designs. When applying the signature, the artist numbers each print with what looks like a fraction. For example, if the fraction 27/150 appears, you will know that it is the 27th print of an edition of 150 prints. Occasionally, you will see A/P or P/A instead of the fraction. The letters stand for Artist’s Proof (in English) or Prueba de Artista (in Spanish). This Artist’s Proof is different from the edition, but remains a valid piece of work. Serigraphy has become a popular art form in Puerto Rico, and has been elevated over the years to the level of tradition. Our educational and cultural institutes lend support to the art form by providing a well developed program of classes in serigraphy, and financial aid and grants to the developing serigraph artists of Puerto Rico |
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Serigraph artist Roberto Matos holds the knife he uses to cut the stencil out of the bluegreen lacquer sheet beneath his hand. |
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