Names
RN 1/1 References & Notes
Photo of Atelier 17 exhibition invitation card. Picture taken on 21st Oct my first visit to Tate Archive.
1927 Please visit Tate Archive for the original document. Requestable
RN 1/2/1 References & Notes My Note book 1 2022 Open
RN 1/2/1/1 References & Notes
Copy of my notebook 1 P12-13 Technique notes form the documentary. A illustration drawn by print technician Oscar Eaton at Royal College of Art.
2022 Reference documentary link: https://www.youtube.com/watch?v=uGBbFtw8uc8
Oscar Eaton’s website: http://www.oscareaton.com
Open
RN 1/2/2 References & Notes My Note book 2 2022 Still in use but borrowable. Restricted
RN 1/3/1 References & Notes S. W. Hayter New Ways of Gravure Introduction P18-22 where Hayter wrote about his idea of modern printmaking.
RN 1/3/2 References & Notes Hayter’s original illustration in New Ways of Gravure
RN 1/3/3 References & Notes New Ways of Gravure pagination notes by Hayter.
RN 1/3/4 References & Notes New Ways of Gravure Chapter 7 Color Printing From Intaglio Plates and the description of simultaneous colours print.
RN 1/3/5 References & Notes Hayter’s original illustration in New Ways of Gravure: Color from single plate through stencils.
RN 1/3/6 References & Notes New Ways of Gravure Chapter 8 P138-139 Printing on fabrics
RN 1/3/7 References & Notes Hayter’s illustration of layout of workshop in New Ways of Gravure
RN 1/4 References & Notes Photographs of Atelier 17 Paris. Documentations of members in the workshop and Hayter demonstrating.
1949 Online resource, please visit https://archive.org/details/newwaysofgravure0000hayt_n9e7 Borrowing time restricted
1949 Please visit Tate Archive for original document. Requestable
1949 Please visit Tate Archive for original document. Requestable
1949 Online resource, please visit https://archive.org/details/newwaysofgravure0000hayt_n9e7 Borrowing time restricted
1949 Please visit Tate Archive for original document. Requestable
1949 Online resource, please visit https://archive.org/details/newwaysofgravure0000hayt_n9e7 Borrowing time restricted
1949 Online resource, please visit https://archive.org/details/newwaysofgravure0000hayt_n9e7 Borrowing time restricted
19601970 Please visit Tate Archive for original Photographs. Requestable
RN 1/5/1 References & Notes Hayter’s original 6 simultaneous colour prints in Tate. 19701979 Please visit Tate Prints and Drawings room. Requestable
RN 1/5/2 References & Notes ‘Cirque Chinois’ by Hayter. Print technician Oscar Eaton and I thought he adapted the techniques of engraving and stencilling to create simultaneous colours on a plate. This is the inspiration for Workshop ref no. WS 1/1/1.
RN 1/6/1 References & Notes Printout screenshot of Hayter using stencils for open bite etching on zinc plate. Word ‘dry point’ was written by me to see how it was like reversely. ‘Dry point’ dry point can
1976 Please visit Tate Prints and Drawings room. Requestable
Reference documentary link: https://www.youtube.com/watch?v=uGBbFtw8uc8 Open
RN/OP/FA/PL/WS/OB
be seen on Plates ref no. PL 1/2 and Original Print ref no. OP 1/6/1-3.
RN 1/6/2 References & Notes Printed out screenshot of Hayter demonstrating simultaneous print inking process and more of his work.
RN 1/7/1 References & Notes Printout screenshot of talk by art historian Ann Shafer.
Ann Shafer analysing Hayter’s print.
RN 1/7/2 References & Notes Printout screenshot of talk by art historian Ann Shafer. Shafer explained the process of simultaneous colours print with a piece tissue paper stencil.
RN 1/8/1 References & Notes Archival research method Weyl mentioned in her book.
RN 1/8/2 References & Notes Weyl wrote about Louise Nevelson. How she developed experiences from Atelier 17 in her sculptural practice.
RN 1/8/3 References & Notes Weyl wrote about how Atelier 17 helped female artists with their career. She wrote that the invention of techniques and other discoveries were result of collective effort.
RN 1/8/4 References & Notes Weyl wrote about the collaborations, facilitation, rules and structure of Atelier 17. This inspired the designing of my workshops. Please see more information in Workshops Collection
RN 1/8/5 References & Notes
2021 Video link: https://www.youtube.com/watch?v=q0QOuDdoVts
Ann Shafer’s website: https://www.annshafer.com
Open
Open
2021 Open
2019 The Women of Atelier 17: Modernist Printmaking in Midcentury New York
By Christina Weyl ISBN: 9780300238501 Yale University Press.
2019 The Women of Atelier 17: Modernist Printmaking in Midcentury New York
By Christina Weyl ISBN: 9780300238501 Yale University Press.
2019 The Women of Atelier 17: Modernist Printmaking in Midcentury New York
By Christina Weyl ISBN: 9780300238501 Yale University Press.
2019 The Women of Atelier 17: Modernist Printmaking in Midcentury New York
By Christina Weyl ISBN: 9780300238501 Yale University Press.
A note I wrote for deconstructing and understanding the techniques adapted on the print by Louise Nevelson in my own way. Please see Original Print ref no. OP 1/5/4-5.
2019 The Women of Atelier 17: Modernist Printmaking in Midcentury New York
By Christina Weyl ISBN: 9780300238501 Yale University Press. Louise Nevelson: https://atelier17.christinaweyl.com/artist-biographies/louisenevelson/
Open
RN 1/8/6 References & Notes
A note I wrote for deconstructing and understanding the techniques adapted on the print by Anne Ryan in my own way. Please see Original Print ref no. OP 1/5/1011. See ref no. PL 1/2/1 for the plate.
2019 The Women of Atelier 17: Modernist Printmaking in Midcentury New York
By Christina Weyl ISBN: 9780300238501 Yale University Press. Anne Ryan: https://atelier17.christinaweyl.com/artist-biographies/anneryan/
Open
RN 1/8/7 References & Notes
Isabel Bishop, Playing with an Idea (with Hayter) showed the collaborative learning environment in Atelier 17. Please see Plate ref no. PL 1/6/2 & OP 1/10 for respond to the print
RN 1/9/1 References & Notes
RN 1/9/2 References & Notes
Printout screenshot of Christina Weyl talks for PAFA about the women and education in Atelier 17. This slide was about the workshop Hayter ran for new participants.
Christina Weyl introducing Dorothy Dehner.
2019 The Women of Atelier 17: Modernist Printmaking in Midcentury New York
By Christina Weyl ISBN: 9780300238501 Yale University Press.
Isabel Bishop: https://atelier17.christinaweyl.com/artist-biographies/isabelbishop/
2022 Pennsylvania Academy of the Fine Arts (PAFA) Video link: https://www.youtube.com/watch?v=VXTS7tgtqEU Open
2022 Pennsylvania Academy of the Fine Arts (PAFA) Video link: https://www.youtube.com/watch?v=VXTS7tgtqEU
Dorothy Dehner
Open
Louise Hung’s Study of Atelier 17- Archive Catalogue
RN/OP/FA/PL/WS/OB
https://atelier17.christinaweyl.com/artist-biographies/dorothydehner/
RN 1/10 References & Notes My note of watching different online resources about Atelier 17 and Hayter. 2022 Open
RN 1/11/1 References & Notes Initial research time line upper page. 2022 Open
RN 1/11/2 References & Notes Research time line middle page. 2022 Open
RN 1/11/3 References & Notes Research time line lower page. 2022 Open
RN 1/12 References & Notes Study of Atelier 17 Archive Catalogue proof read version 1. 2022 Open
OP 1/1/1
OP 1/1/2
OP 1/1/3
OP 1/1/4
Original Prints Test out prints by a piece of foam plate ref no. PL 1/1/1. Objects found on my desk were pressed to created marks. Sharp tools were used to created line drawing for ref no. OP 1/1/4. Testing the possibility of the open source 3D printed press ref no. OB 1/1 as a tested demonstration for workshop ref no. WS 1/2
OP 1/2 Original Prints A hand printed stencils print with acetate, testing ideas for ref no. WS 1/2
OP 1/3/1 Original Prints Dry point on acetate ref no. PL 1/1/2. Vinyl was sticked intentionally to block out inks. The series of prints was made on the day before Bonfire night, exploring the idea of ‘automatism ‘of surrealism which was experimented in Atelier 17.
OP 1/3/2 Original Prints Multiple colours where separated by newsprint & tissue paper stenciling on a single plate PL 1/1/2 This was inspired by ref no. RN 1/5/2 and was a demonstration for ref no. WS 1/1/1 Only small part of the vinyl was able to peeled off.
OP 1/3/3 Original Prints Ghost print of ref no. OP 1/3/2 on damp Cartridge paper. Some stencils were removed.
2022 Please view with care. Open
2022 Please view with care.
2022 Please view with care.
2022 Please view with care.
2022 Please view with care. Open
OP 1/4 Original Prints This was demonstrated in the workshop ref no. WS 1/1/1 Same technique as ref no. OP 1/3/2 was applied with adding in brush marks. Julian Trevelyan’s prints were used as referenced see ref no. WS 1/1/2. Please see the plate for this ref no. PL 1/1/3
OP 1/5/1 Original Prints The first experiment with simultaneous colour print(mono-print) based on archival and online resources. The notes for ink preparation please see ref no. RN 1/2/1 P10-11. Magnesium powder was added in light pink.
OP 1/5/2 Original Prints Ghost print of ref no. OP 1/5/1 on dark grey colour paper. (Ghost print means printing 2nd time without reinked.)
OP 1/5/3 Original Prints Study of simultaneous colour print. White round shape was covered by tissue paper stencil. Notes taken on the print includedmagenta pink ink needs more linseed oil; the colour combination doesn’t work, a darker colour should be added in. (And a unreadable sentence written in gold.)
OP 1/5/4 Original Prints Simultaneous colour print on water-colour paper. A piece of cloth was used as stencil. This was inspired by the background texture of Louise Nevelson’s print please see ref no. RN 1/8/5.
OP 1/5/5 Original Prints
2022 Please view with care. Open
2022 Please view with care. Open
2022 Please view with care. Open
2022 Please view with care. Open
2022 Please view with care. Open
OP 1/5/6 Original Prints
Ghost print of ref no. OP 1/5/4 2022 Please view with care. Open
Simultaneous colour print. Inspired by Minna Citron. The process started to be more controllable. Brushes were used to create marks. White spirit where painted and splashed to wash off part of the inks during the process. A piece of tissue paper stencil were placed before going through the press. Instead of only inking part of the plate like the previous prints ref no. OP 1/5/1-5 green and then yellow were rolled over the plate making the colours more harmonious. In this print, colour separation could clearly be seen.
2022 Please view with care.
Minna Citron: https://atelier17.christinaweyl.com/artist-biographies/minnacitron/
Open
OP 1/5/7
Original Prints
Ghost print of ref no. OP 1/5/6. Printed on damp paper. Print technician Sharon Lee mentioned that damp paper could help the colour to have even better performance.
2022 Please view with care.
Sharon Lee’s website: https://www.sharonleeprints.com
OP 1/5/8
Original Prints
Simultaneous colour printed on damp test paper. Experiment with rolling multiple colours on both plates. The upper plate was printed without the light pink mixed with magnesium powder. The colours layering went from pink, green, light green and to yellow. The thick layer of sticky ink on the below plate caused the damage of paper. Solution would be using proper printmaking paper in higher gsm. Magnesium powder was unessential as it covered up much space and added the difficulty of cleaning the plate.
OP 1/5/9
Original Prints
Simultaneous colour print. Inspired by Margaret Balzer Cantieni. Playing with inks, brush marks and white spirit. Tissue paper was used as stencil. Too much ink applied on plated caused leaking.
OP 1/5/10
Original Prints
Dry point with scalpel, mezzotint rocker and sand paper on acetate. Simultaneous colour print. Inspired by Anne Ryan please see ref no. RN 1/8/6. Extra thick black inked marks were added in the last minutes which caused serious leak on the paper. Perhaps the paper was too wet. See ref no. PL 1/2/1 for the plate.
OP 1/5/11 Original Prints
Second try of ref no. OP 1/5/10. See ref no. PL 1/2/1 for the plate. I liked it.’ noted.
OP 1/6/1 Original Prints
OP 1/6/2 Original Prints
Dry point print intaglio on the back of an used plate. Life drawing at Battersea printmaking workshop in response to ref no. RN 1/4 and ref no. JT 1/4/3. Please see ref no. PL 1/2 for the plate.
Simultaneous colour dry point print of ref no. PL 1/2 Note written down that avoid using black for next print as it disturbed the colours. Please see ref no. PL 1/2 for the plate.
Open
2022 Please view with care. Open
2022 Please view with care.
Margaret Balzer Cantieni: https://atelier17.christinaweyl.com/artistbiographies/margaret-balzer-cantieni/
Open
2022 Please view with care. Open
2022 Please view with care. Open
2022 Please view with care. Open
2022 Please view with care. Open
OP 1/6/3 Original Prints Roller mark print of ref no. OP 1/6/2. 2022 Please view with care. Open
OP 1/6/4 Original Prints Mono simultaneous colour print. This is an life drawing illustration of an old etching press at RCA Battersea printmaking workshop. See ref no. JT 1/4/3 for the RCA print workshop in !959; JT 1/5 of the photo took recently in the workshop.
OP 1/7/1
OP 1/7/2
Original Prints Re-etched found copper plate. Simultaneous colour printed on somerset 300gsm textured paper. Stop out varnish was applied with a brush to protect the non-open bite area from ferric chloride. Please see ref no. PL 1/4 for the plate. Please notebook 2 ref no. RN 1/2/2 P6-7 for notes and etching details.
OP 1/8/1 Original Prints Test print. Please see my notebooks ref no. RN 1/2/1 P21-23 for sketches and P24 for etching timing; ref no. RN 1/2/2 P1 for final etching plan. See ref no. PL 1/5/1-2 for plate and making process. The composition of the print was inspired by Julian Trevelyan’s work which can be find in ref no. WS 1/1/2. The shapes were inspired by themes of classmates’ project at RCA Archive(r) class as a response to collective and collaborative learning in Atelier 17.
OP 1/8/2 Original Prints Accidentally ripped part of simultaneous colour print ref no. OP 1/8/3 of plate ref no. PL 1/5/1
2022 Please view with care Open
2022 Please view with care Open
2022 Please view with care Open
2022 Really fragile, please view with care OpenLeave in plastic Folder
OP 1/8/3 Original Prints
Simultaneous colour print of plate ref no. PL 1/5/1. Collaged the ripped parts on top. Technicians suggested to use somerset 300gsm paper for next prints. Inks layering process from orange(applied with a rubber and wiped out with cloth), green twice(hard roller) to yellow(soft roller).
2022 Really fragile, please view with care OpenLeave in plastic Folder
OP 1/8/4
Original Prints
Simultaneous colour print of plate ref no. PL 1/5/1. Leaking appeared on somerset paper because ink wasn’t wiped off on edges of the plate. The second teal green layer’s roller wasn’t hard enough causing the big area of inking.
2022 Please view with care
OP 1/8/5 Original Prints Simultaneous colour print of plate ref no. PL 1/5/1 on somerset paper.
2022 P ease view with care. Open
OP 1/9/1 Original Prints Simultaneous two colour print of aquatint pate ref no. PL 1/6/1 made together with technician Oscar Eaton and other students. A stencil was placed while rolling the second layer of ink A stencil were placed and went through press with the plate.
OP 1/9/2 Original Prints Ghost simultaneous three colour print of ref no. FA 1/3. The textured of fabric could be seen on the print.
2022 Please view with care Open
OP 1/10 Original Prints Print of ref no. PL 1/6/2. Please see it for description details. The four tones aquatint plate was made collectively with workshop participants and the technician. This was printed with gold and silver inks.
OP 1/11/1 Original Prints This is a Tetra Pak intaglio print of ref no. PL 1/7. First ghost prints of ref no. FA 1/4
2022 Please view with care Open
OP 1/11/2 Original Prints This is a Tetra Pak intaglio print of ref no. PL 1/7 Second ghost prints of ref no. FA 1/4
2022 Please view with care Open
2022 Please view with care Open
2022 Please view with care Open
OP 1/11/3 Original Prints These were demonstrations for workshop ref no. WS 1/3. Ghost prints of ref no. FA 1/5
FA 1/1 Print on Fabrics Collaborate with Yueh Huang, testing out printing on fabric with block and relief plates in Peter Nencini’s material exploration workshop. See ref no. PL 1/3/14 for the plates The illustrations were inspired by Louise Nevelson and Stanley William Hayter in Atelier 17 See my notebook 2 ref no. RN 1/2/2 P9-15 for sketches and test prints.
FA 1/2/1 Print on Fabrics
Please see ref no. OP 1/1/1-5 for detailed discerptions for the print. See ref no. PL 1/5/1-2 for plate and making process. According to ref no. RN 1/3/6 a piece of damp paper was place above the fabric through the press.
2022 Please view with care (This is not in print-out catalogue.) Open
2022 Please view with care and clean hands
Peter Nencini: http://www.peternencini.co.uk
Yueh Huang’s Instagram: https://www.instagram.com/ula_y.huang/
Open
2022 Please view with care and clean hands. Open
FA 1/2/2 Print on Fabrics
Please see ref no. OP 1/1/1-5 for detailed discerptions for the print. A bit of white was added in teal green in attempt to create gradient See ref no. PL 1/5/1-2 for plate and making process. According to ref no. RN 1/3/6, a piece of damp paper was place above the fabric through the press.
2022 Please view with care and clean hands. Open
FA 1/2/3 Print on Fabrics
Please see ref no. OP 1/1/1-5 for detailed discerptions for the print. A bit of white was added in teal green in attempted to create gradient. The last layer’s yellow was applied twice. See ref no. PL 1/5/1-2 for plate and making process. According to ref no. RN 1/3/6, a piece of damp paper was place above the fabric through the press.
2022 Please view with care and clean hands. Open
FA 1/3 Print on Fabrics
Simultaneous three colour print of aquatint plate ref no. PL 1/6/1 on fabric. Magenta ink was rubbed in and wipe off. Next, stencils were placed while rolling second layer teal green over them. Stencils were peeled off before rolling the third layer of yellow ink. According to ref no. RN 1/3/6, a piece of damp paper was place above the fabric through the press.
2022 Please view with care and clean hands. Open
FA 1/4 Print on Fabrics
Print of ref no. PL 1/7 See ref no. OP 1/11/1-2 for ghost prints. Gold ink was rubbed and wiped off Silver ink mixed with linseed oil was applied on top. According to ref no. RN 1/3/6 a piece of damp paper was place above the fabric through the press. These were demonstrations for workshop ref no. WS 1/3
FA 1/5 Print on Fabrics These were demonstrations for workshop ref no. WS 1/3. See ref no. OP 1/11/3 for ghost prints. Blue and red inks were rubbed in. White marks were applied by a brush on the Tetra Pak plate.
2022 Please view with care and clean hands. Open
Please view with care and clean hands (This is not in print-out catalogue.) Open
PL 1/1/1 Plates Foam plate for ref no. OP 1/1/1-4. Please see them for detailed descriptions. 2022 Open
PL 1/1/2 Plates Acetate dry point plate for ref no. OP 1/3/1-3 Please see them for detailed descriptions.
2022 Open
PL 1/1/3 Plates Acetate plate for ref no. OP 1/4. Please see it for detailed descriptions. 2022 Open
PL 1/2/1 Plates Plate made with scalpel, mezzotint rocker and sand paper on acetate Please see ref no. OP 1/5/10-11 for detailed descriptions.
PL 1/2/2 Plates Reused dry point zinc plate for ref no. OP 1/6/1-4 Please see them for detailed descriptions. Some red ink mono-printed
2022 Open
2022 Mind the sharp edges. Open
for testing left on the plate.
PL 1/3/1
PL 1/3/2
PL 1/3/3
PL 1/3/4
Plates Plates for ref no. FA 1/1. Please see it for detailed descriptions.
PL 1/3/1 Linocut
PL 1/3/2 Front: foams collaged on plywood with PVA glue. Back: marks cut in wood.
PL 1/3/3 Foams collaged on plywood.
PL 1/3/4 Marks cut in wood.
PL 1/4 Plates Copper plate open bitten by ferric chloride for ref no. OP 1/7/1-2. Please see them for detailed descriptions.
PL 1/5/1 Plates Plate for ref no. OP 1/8/1-5 & FA 1/2/1-3 Please see them for detailed descriptions. Two depth were open bitten by old ferric chloride on the copper plate for 3.15 hrs. each, 6.5h. in totally.
2022 Open
2022 Mind the sharp edges. Open
2022 Mind the sharp edges. Open
PL 1/5/2 Plates 6.5h process record of making ref no. PL 1/5/1 2022 Open
PL 1/6/1 Plates Plate for ref no. OP 1/9/1-2 & FA 1/3. See them for detailed descriptions. The 4 tones of aquatint from light to dark were etched for 0s, 1.5m, 5m and 10m. This was etched at the same time with ref no. PL 1/6/2 in the aquatint workshop ran by technician Oscar Eaton at Royal College of Art.
PL 1/6/2 Plates The 4 tones of aquatint from light to dark were etched for 0s, 1.5m, 5m and 10m. This was etched at the same time with ref no. PL 1/6/1 in the aquatint workshop ran by technician Oscar Eaton at Royal College of Art. Illustrations and marks were created collectively with the technician and workshop participants which could refer to the workshop culture of ref no. RN 1/8/7
PL 1/7 Plates Plate of ref no. FA 1/4 & OP 1/11/1-2. This was made of a cut piece of soya milk tetra pak as demonstration for ref no. WS 1/3
2022 Mind the sharp edges. Open
2022 Mind the sharp edges. Open
Open
WS 1/1/1 Workshops 16th Nov Simultaneous Colour Stencil Print Workshop brief. Please see ref no. RN 1/2/1 P14-17 for the detail planning for the workshop. Please see ref no. OP 1/3-4 for the demonstrations.
WS 1/1/2 Workshops Reference sheets including prints of Louise Nevelson, Dalla Husband, Dorothy Dehner, Minna Citron, Lily Garafulic, Julian Trevelyan, etc. prepared for the workshop ref no. WS 1/1/1.
2022 Open
2022 Open
WS 1/1/3 Workshops Simultaneous Colour Stencil Print Workshop ref no. WS 1/1/1 photos.
2022 Digital files only.
WS 1/2 Workshops Christmas Workshop 17-18 Dec Monoprint: The Most Unique Christmas Card in the Universe brief See ref no. OP 1/1-2 for the demonstrations.
WS 1/3 Workshops 7th Nov Intaglio on Fabric: Dry-point and collage with recycled carton workshop brief. In relation to ref no. RN 1/3/6 and ref no. FA 1/1-3. See ref no. PL 1/7, FA 1/4-5 & OP 1/11/1-3 for the demonstrations.
WS 1/3/2 Workshops Intaglio on Fabric: Dry-point and collage with recycled carton Workshop ref no. WS 1/3 photos.
2022 Please see: https://www.bentallcentre.co.uk/whats-on/christmaswonderland
Open
2022 Open
2022 Digital files only. (This is not on the print-out catalogue.)
WS 1/4 Workshops Stenciling 2: Working on Screens and Fabrics workshop brief. 2022/ TBC Open
OB 1/1 Objects 3D printed mini printing press. The fact that Atelier 17 provided free workshop environment for members makes me start being interested with open sources especially for printmaking. The press was sent to print at RCA Battersea 3D print workshop by technician Jonathan Wanford.
2022 Find the open source here: https://openpressproject.com
Jonathan Wanford
https://jonathanwanford.wixsite.com/website/selected-work
Open
OB 1/2 Objects Apron with inks all over them. Personal object still in used. Private
OB 1/3 Objects Gloves with inks all over them. 2022 Personal object still in daily used. Private