#seripop

[toutounegallery]

Various silkscreen posters by SeriPop, the art duo comprised of Chloe Lum and Yannick Desranleau, who were based in Montreal (work spanning several years in the early 2000s)

If you are curious to access the price list please email your request to Toutoune.Gallery@gmail.com

Prices range from $45 to $275 : o )

[yzrysiyzrysi]

AIDS Wolf - Dustin’ Off The Sphynx 7” #np #vinyl #7inch #nowave #experimental #rock #noise #coloredvinyl #aidswolf #skingraftrecords #seripop https://www.instagram.com/p/CDYJX38Dpu-/?igshid=qz5jtwa29gg3

[b-law-g]

seripop

[biometricbits]

Seripop

[jonprocillustration-blog]

Paper and Ink Workshop : Printmaking Techniques Using a Variety of Methods and Materials

One of the last chapters of this book really stood out to me, highlighting key points about the future of small press printing as well as how and why there has been a resurgence in this practice. The opening paragraph sums up the main reasons why print has become popular with John Foster stating that ‘Several factors keep small-press printing alive today, but the one that ensures it has a vibrant future is the simple economic one: it costs less to try something new.’ While I agree that the cheapness of print takes away the financial pressure of failure, allowing more creative freedom with little consequence, I do think that the main reason for its popularity is the ease of getting results as well as the range of results from just a simple print.

Foster then gives a brief history of the “renaissance’s” small press printing has had over the past fifty years. It was really helpful to have a quick explanation of how this practice developed and evolved over time and how it was used in response to politics. Screen printing managed to elevate itself into galleries and artist portfolios for much of the 1960s due to being adopted by many of the leading figures in the Pop Art movement most notably Andy Warhol. This elevation allowed screen print to become more than a process, but created an aesthetic for itself that would be recognised throughout the art world. Screen Printing had not only broken into the galleries and the ‘high art’ community but had also become a tool in the creating protest art during the late 1960s in response to social turmoil and dissatisfaction. The youth at the time realised that screen printing was a valuable process when creating art ‘Whether pushing for civil rights in the American South or trying to cover all of Paris in paper’ (Foster, 2013). Both the Pop Art movement and various social movements in the 60s have shown the vast range of image making that print has to offer, as well as the potential the process has.

After talking about the history of screen print, Foster moves on to talk about what practicing artists are doing now to push the boundaries of screen print. Focusing on artistic duo Seripop, Foster explains that some artists are moving away from the idea of hanging a framed print on a gallery wall but are undertaking huge installation projects creating three dimensional pieces grounded in screen print. I had never thought of using screenprint to create an installation, and learning about how other artists have used print to create incredible pieces of work has really inspired me to push the boundaries of my own work. I’m very eager to see how I can adapt printmaking into my work and how my visual language will change because of it.

The final chapter ends with an explanation of how designers adapted their craft throughout the many resurgents of print. The biggest being the introduction of the internet which had ‘alerted a hungry public’ to the availability and affordable prices of art prints. This exposure and interest had surprised almost everyone in the small-press print industry especially when a global marketplace opened, as a result, allowing room for small businesses to thrive and grow. Small-press printmaking therefore changed from freelance work and hobbies to viable and successful side business or full time jobs. Learning about the different ways printmakers were ‘able to carve a niche and form sustainable businesses’, as well as navigating this increased interest in prints was really interesting. I don’t know much about the industry, in terms of business as well as not being sure where my artistic career could go. I feel I have a better understanding of a number of paths my career could take, after reading some of the examples in this chapter. Some designers used the exposure they got through printmaking to secure jobs in other areas of the creative industry such as editorial or marketing. Others licensed their images to larger commercial businesses like greeting card companies, clothes stores or stationary shops. An option I hadn’t realised was possible, is to seek out grants to create larger works of art and to create large amounts of images in order to keep a flow of work and income. Another option I read, which sounds fun but I can imagine would take a lot of work, is to open up a storefront. The idea of doing this is very exciting for obvious reasons but it would require a lot of research and training into how to run a shop, taxes, business rents and so forth… But it’s still nice to fantasise about it at this early stage in my career! I thoroughly enjoyed learning about the print community, and how small-press printing formed into the cottage business industry it is today. After reading this chapter; knowing how other designers have created and improved the business has definitely filled me with a bit more confidence in relation to the future of my career. Currently I produce a few prints which I put on sale on my website to various degrees of success, so researching into ways I can include outside platforms to increase my reputation and success is definitely a step I’m going to be taking in the near future.

. John Foster (2013) Paper and Ink Workshop : Printmaking Techniques Using a Variety of Methods and Materials. Beverly, Massachusetts: Rockport Publishers. Available at: http://search.ebscohost.com.ezproxy.uwe.ac.uk/login.aspx?direct=true&db=nlebk&AN=677361&site=ehost-live (Accessed: 13 February 2021)

Image: https://images-eu.ssl-images-amazon.com/images/I/91kbuSbN7vS._SY250.png

[demsfineartblog]

What the term ‘Seripop’ is 

[emilymyplace]

Seripop

Seripop refers to the art duo chloe Lum and Yannick Desranleau, who have collaborated on album covers, prints, book illustrations and installations. The name seripop is short for serigraphie popularise, french for ‘popular screen printing’

[sofsof46]

seripop. ellen g.

[nelllamb0920]

Stanley Donwood

Donwood approaches lino with an illustrative style this makes his linocuts distinguishable as they are very stylised with strong lines and a monochromatic palette. At most Donwood uses two colours on his prints , as his designs have a look of being layered and dimension adding too many colours would overwhem the peice. You can link Donwoods style back to Seripop as both use bold lines and have an illustrative look , but the outcomes have compleatly different apperances. Donwoods mainly focuses on landscapes but keeps the designs very clean and sleek as to see the whole scene without getting lost in it. He also is a fine artist however his work varies from linocuts to oil paints as he compleatly changes his style, as when using oil paints he has a more abstract look focusing on fantacy almost to the point of surealism this heavily contrasts his clean and fresh linocuts. Donwoods linocuts use similar line thickness throughout but using high tonal contrast he sperates the peice into layers creating a strong compostion. For example below the boat is seen in the foreground and the darkest tones are seen in the background this is where the illusion of dimension is created , this allows for his work to not appear flat or dark.

[mementomoriiv]

Seripop

[maisieseaman]

Screenprints

7th Sept 2020

Today we had to design 6 screen print designs and question what makes a successful screen print (such as a clear design with consideration for light and dark contrast). To get some inspiration we also looked at multiple artists work such as Andy Warhol, Seripop and Scott Massey.

For our designs we had to try out these different techniques:

Fine liner drawing

mixed media design

text and imagery

fine liner and collage

doodle

My main theme for this topic is the ocean as it is my happy place so i really wanted to do an ocean screen print design. I also tried out different designs to do with adventure and people. I collected a range of imagery from magazines and the internet to use on my designs.

[janecampion-ntu]

People of Print by Andy Cooke and Marcroy Smith

After examining the different works in this book I have included in this review certain examples of the different designers works that I find particularly appealing and those that I do not. The first four images after the book cover are pieces that I felt particularly drawn to, where as the other five after that possessed qualities that I felt unsatisfied with as a designer.

As a result of my analysis I have found that I don’t feel any particular interest in ‘installation art’ and art that is focused more on the message it tries to get across; for example Seripop’s work (images 6&7) appears as random, colourful sculptures placed in a space which I feel sacrifices physical beauty for the message behind the installation.

One thing that is apparent from the images that I chose as ones I liked is that I am attracted to designs based around colour and form although I struggle to pin point why exactly I am drawn to these particular works. 

Image 2: Broken Fingaz Crew

Image 3 & 4: Frenchfourch

Image 5: Ben Rider

Image 6 & 7: Seripop

Image 8 & 9: Hey

Image 10: Erik Kessels 

[annabrut-blog]

FMP Proposal

The area of study:

The area of my study is theatre design, which is going to be focused on exploration of an idea ‘what if viewers became actors and performed their own play’. Initially, I was inspired by the fact that starting from the 20th century there has been a tendency to integrate actors into public in order to direct a story from the inside. So there is a question what role do the people play, when they become a part of a performance? Theatre production is a living organism and the main source of life is audience, whose certain emotional state and degree of openness influence their understanding of the plot. They go to the theatre for many reasons: while someone is eager to have fun and show yourself, other treat the theatre as a sacred place and take a chance to confess. How do these people influence each other? How do they behave? In other words, actors introduce an idea and viewers reflect on it according to cultural and social backgrounds. A level of perception is different, that is why one story has multiple interpretations. Nevertheless, the main concept that works for everybody is that the theatre creates special conditions where people show a real essence of their personal characteristics, no matter whether they are positive or negative. This place doesn’t assess, but perceives everyone with a diversity of their moods, actions and flaws.

My aim is to come up with a range of characters and reveal their inner state (to show a bouquet of emotions that people experience during the play and visualise this dumb show) that is an ironic representation of theater audience in Moscow. I would like to give an opportunity to the viewer to look at himself from a different angle and ask a question ‘What kind of theatergoer am I?’

 The working title:

Dumb show (‘Немая сцена’)

Research steps:

1.      theatre

I have already been to two plays called ‘Rumors’ and ‘№13D’. In the nearest future, I am going to reflect on their structure and plot tricks. Also I consider asking Galina Solodovnikova for advice about visual interpretation and set design.

2.      interview+ social survey

I have a friend, who studies at GITIS. So I am going to come up with relevant questions about her life, theatre atmosphere, rehearsals, unusual situations, improvisations and something that happens behinds the scenes and a viewer is not aware of. Moreover, I would like to write a survey questionnaire and make a comparison between actors and viewers’ attitude to theatre and each other.

3.      lectures

There is a course of lectures on Contemporary art and theater at MOMMA museum that I am going to attend in order to get a proper overview of theatre development and its influence on a current situation. Also this is a great opportunity to become familiar with significant figures of that time and reflect on it referring to my project.

4.      exhibitions

 -         ‘The Geogian Avant-garde: 1900-1930s’ at The Pushkin State Museum of Fine Arts (‘a major section of the exhibition is dedicated to the theatre’);

-          ‘The world is the theatre. Architecture and set design in Russia’ at Schusev State Museum of Architecture.

 5.      visual language

 Theatre aesthetics: Bauhaus, Dmitry Krymov, Vsevolod Meyerhold, Robert Wilson, Oskar Schlemmer.

Artists: Kazemir Malevich, Picasso, Sergei Eisenstein, Fernand Leger.

Contemporary artists: Nenad Cizl, Seripop (refer to posters - its visual clarity and playfulness).  

Work format:

1.      Theatre branding

This is the main part of FMP that consists of visual identity. I am going to create a set of posters and a booklet (for example, a format of brochure with explanations for the story exhibited). The research might change the final outcome; it will depend mainly on the final idea.

2.      Installation (conceptual space)

There is an opportunity to sum up the story and demonstrate it as a panoramic overview of the audience. This structure may have a surface made by plywood/ a piece of fabric and colored with acrylic paints or there will be a big printed illustration.

 Materials, processes and outcomes:

I am going to work 50% off-site and 50% at college, because primary research involves observation. In order to develop my characters, I plan to go to the theatre once again and draw people, follow their movements, actions and record their conversations.

I intend to use mixed media in order to achieve as playful and experimental result as possible. So I suggest drawing with pencils, ink and charcoal; also, I would like to refer to a collage technique.

The installation is a big graphic summary of the story that offers an area for a viewer to look at himself from a different angle, feel the environment and be a part of a play.

Is it interactive space or just an atmospheric representation? Is it a flat surface or an illustration transformed into 3d (with elements of integration)? What is the meaning and context of the exhibition place?

 Progress measurement and assessment:

A blog will be the main analytical tool that will help to critically review a development process and identify some flaws. All information will be recorded digitally, so I won’t waste my time and retype everything once again. Tutorials will help to identify my strong and weak points and push me further in terms of idea generation and its clarity. References and sources will be combined together and transferred directly to a project log file in order to see everything laid out according to stages. As for project planners, if something goes wrong, I will replace steps with each other or find alternative solutions that will lead to a more successful direction.

 Schedule:

Week 1 (30.01- 05.02) - primary research (books, lectures, etc) + first sketches based on research;

Week 2 (6.02- 12.02) - FMP proposal confirmed + research (lectures, books, exhibitions);

Week 3, 4 (13.02- 26.02) – secondary research + idea generation + character design + search for visual identity, trying out different techniques + come up with the plot and identify its ways of development (start drawing);

Week 5 (27.02- 5.03) – visual identity confirmed + character design refinement + experiments with layout and book format + typographic solutions;

Week 6 (6.03- 12.03) - compositions are established for visual identity (posters, brochure) + color palette + start working on final illustrations (different options of representation) + experiments with shapes (a cardboard installation)

(11.03) – performance ‘The Demon. The view from the top’, 19:00, School of dramatic art, Dmitry Krymov (the director of the play);

Week 7 (13.03- 19.03) –developing/drawing FMP + a booklet format is chosen + work on exhibition space (prepare a Photoshop file, if it is a laser cutting + production) + confirm a final structure + come up with a final composition for the installation+ work on the installation, trying out different materials and surfaces;

Week 8 (20.03- 26.03) - developing/drawing FMP (visual identity) + design and lay out the brochure + start working on the final version of the installation;

Week 9 (27.03- 2.04) – assessment preparation (AOM +Size matters); design and lay out the brochure + work on the installation;

Week 10 (3.04- 9.04) – visual identity is ready for print + work on the installation;

Week 11 (10.04- 16.04) – printing/binding FMP + produce additional works for the exhibition place + installation is ready (try out lightning if it is necessary?):

Week 12 (17.04 - 23.04) – FMP crit, Project Log FMP (layout);

Week 13 (24.04 - 30.04) – Project Log FMP (layout);

Week 14 (1.05 - 7.05) – BHSAD closed, Project Log FMP (layout/printing/binding);

Week 15 (8.05 - 10.05) – Project Log FMP (binding), FMP Deadline, Exhibition construction.

 https://annbespalova.tumblr.com/

[koyamapress]

“Brat is dark other-dimensional speculation on the emptiness of fame, a culture obsessed with youth, what happens when subversion is longer subversive, and leaving it all behind. DeForge offers a strain of neurotic-comedic pathos not seen in the form since Mark Beyer’s Amy and Jordan.” — Chloë Lum of Seripop

[les-surgeles]

Seripop

[demsfineartblog]

CHLOE LUM & YANNICK DESRANLEAU- UNCOUNTABLE (NOT COMPARABLE) (2012)

Screen printed paper, found wallpaper, string, wood, fabric, bricks, tempera

Variable dimensions (355 x 1265 x 701 cm)

http://lum-desranleau.com/projects/uncountable-not-comparable/

John also Suggested ‘seripop’ and I came across this installation which I really enjoyed as I was thinking about incorporating installation into my practice at some point. I also like how printmaking is inclusive within the installation as this is something I would also incorporate, as screen printing wallpaper is something I would like to explore. I also enjoy the choice in bright colouring and clashing in patterning as this is an aesthetic I tend to live by.