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Maler Müller

@maler.mueller

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Printing is Painting with technical Devices.

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From the Archive I – Where it all began
In digital printing, colour is detached from materiality becoming a pure bit of information. While in typography, the correspondance from letter to a code aequivalent is clear, logic and therefore totally integrated, in colour matching with code seems to be less intuitive. The experiment is based on an understanding of digital colour as information provider that can be interpreted with any of the three standard inks, resulting in unforseeable visual combinations. This play offers a certain number of possibilities, due to its aleatoric dispositive.

SATT, silkscreen, 2019, 297x420mm
CMY-separation, channels and inks were flipped in the printing

The typography was initially created as commissioned work for the Berlin Art Festival #48hneukölln back in 2016 by @thomaslehnerstudio. It is a hand-cut of elastic foam, and stamp-printed with acrylic colours. It marks also a shift of personal interest from type to colour.

#silkscreen #latergram #typography #colorseparation #saturated #satt #printingasperformance #print #printisnotdead #peopleofprint #print #printmaking #48hNK by @maler.mueller

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4 years ago

Serendipity – on Searching and Finding
Accidental overprint of „Forest“ and „Oak Leaves“ in experiment #11 Reproducability. The texture of the forest (Y-channel in Flatgold) serves as background for the leaves printed in Yellow and Green (C-channel). Accidentally re-discovered in the maculature paper pile.

Overprint, 328 x 262mm, 3C
Research in Printmaking as Poetry, happy accidents

#accidentalimage #accidentalimages #serendipity #designbychance #coincidence #risograph #print #risography #riso #risoprinted #peopleofprint #print #printmaking by @maler.mueller

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4 years ago

Rasterisation 1/2
One-color-testchart for screeing width. AM-Screening: 38lpi / 50 lpi / 75lpi / 150lpi / 200 lpi. Digital collage of different widths in titling image.

. Landscape
121x82mm

Photography: Jonas Hänggi @jonasnilshaenggi
Research in Printmaking as Poetry, Experiment 7/18

According to Richard Benson, the fundamental problem of the printed image is the fact that the ink is black. Therefore, it is not possible to express tonality. One has to simulate tonality, either as an artistic act or with technical aids: Rasterisation of an image into printing dots, as small and as many as possible, is the key to create a realistic image of the world. The stochastic and hybrid screening systems in the offset printing process might be seen as the culmination of this development.
In contrast, risography, with its limitation to 600 dpi, represents a type of image production that stands openly to the printing dot as a means of expression.

#risograph #print #risography #printisnotdead #riso #risoprinted #peopleofprint #print #printmaking #athmosphere #mood #lookandfeel #rasterisation #RichardBenson #dots #screeningtest by @maler.mueller

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4 years ago

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4 years ago

Flatgold as addition or substitution.
A partial flatgold coating is given to the the Fondation Beyeler building, either added to the three primary colours or as a substitution of the Y-channel.

196x183mm
Fluo-Pink, Blue, Flatgold
Fluo-Pink, Blue, Yellow, Flatgold

Photography: Pati Grabovicz @@patigrabovicz
Research in Printmaking as Poetry, Experiment 10/18

Note on metallics in iconography:
As a visual phenomenon, metallic pigments do reflect incoming rays of light in exactly the same angle in which they are hitting the surface. This specificity results in a strong perceptive signal, contrasting the conventional remission of ordinary colours. According to the angle of the perspective, it changes its luminosity and shininess, so that it can even blend the onlooker.
In the experiment, the use of flatgold didn’t turn out to work in the intended way, transferring iconographic conventions in the use of golden pigments onto a photographic image. Since the pigments are sinking into the paper’s structurem, they give to the image a brownish and not very tempting appeal.

#risograph #print #risography #printisnotdead #riso #risoprinted #peopleofprint #print #printmaking #athmosphere #mood #lookandfeel #colorseparation #flatgold #metallics #reflection #pigments by @maler.mueller

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5 years ago

Colour build-up after the screening of a new master film.
Teal, Gold, Orange, Federal-Blue, Bright Red, Blue

Photography: Jonas Hänggi @jonasnilshaenggi
Research in Printmaking as Poetry, Experiment 17/18

When start printing with a new master film on a drum, the first prints are generally for the waste paper bin. A certain amount of rotations is needed untill the whole lenght of the drum is flooded equally with colour. According to my practise, this might be increasing the longer a drum has been out of use.
The phenomen reminds a bit of this moment of the old days in the darkroom, when the exposed but still invisible photochemical image in the developer bath magically starts to appear.

#risograph #print #risography #printisnotdead #riso #risoprinted #peopleofprint #print #printmaking #athmosphere #mood #lookandfeel #colordrum #animationofprint #animatedprint #happyaccident #monochrome by @maler.mueller

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5 years ago

Beyond the product: aesthetics of serendipity
3C-print with Yellow, Fluo-Pink and Federal Blue. Due to the not fully color floated blue drum, the covering layer of the image turned out partially transparent.

. Forest, 2021
330x265mm

Photography: Jonas Hänggi @jonasnilshaenggi
Research in Printmaking as Poetry, Happy Accident in Experiment 5/18

Using the risograph as a tool of expression, not as a mere means to duplicate information, questions of its appropriate role do arise: Errors and accidents are normally moments of lack (in standardised processes), turning to moments of luck: If you are working with an open mind, welcoming results that differ to what was planned and expected in advance. This is how serendipity is considered to occur. In this case, the imperfect flooding of the color drum sets free semantic insights in the construction of the photographic image: As a vegetal curtain, the structure of the forest seems to hide something we do not know and we cannot see.

#risograph #print #risography #riso #risoprinted #peopleofprint #print #printmaking #athmosphere #mood #lookandfeel #accidentalimage #accidentalimages #serendipity #designbychance #coincidence by @maler.mueller

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5 years ago

CMY color separations, using Yellow, Fluo-Pink, variations in Blue

. Landscape, 2021
392x263mm
1: Blue
2: Blue (difference in density)
3: Federal Blue
3: Green

. Forest, 2021
330x265mm
1: Blue
2: Blue
3: Federal Blue

Photography: Jonas Hänggi @jonasnilshaenggi
Research in Printmaking as Poetry, Experiment 5/18

Note on fluorescent colours in trichromatic separations:
The specificity of fluorescent colours is that they transform wavelengths of invisible light down into the visible part of the spectrum. They are actual transformers that process something from outside our perception sphere in such a way that we can perceive it. So their function could be described as transcendental, which might be taken into consideration when using in reproducing images. Used in trichromatic color separation, fluorescent colours (f.i. fluo-pink instead of bright red) create a functional disbalance between the three colours.

#CMY #colour #separation #trichromatic #risograph #print #risography #fluorescent #printisnotdead #riso #risoprinted #peopleofprint #print #printmakingtips by @maler.mueller

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5 years ago

Beyond the product: aesthetics of maculature paper
If we use the Risograph as a tool for expression rather then a mere means to multiply information, new dimensions come into play: error, coincidence and chance become moments in the design process that elude control and demand uncommon traits: Trust that the creative process cannot be totally planned and that the poetic power most often arises beyound predictability and repeatability.
Overprint, 195x148mm, 2021
Red-, Green-, Blue- and Teal-masters of 4 different templates

Research in Printmaking as Poetry, happy accidents

#risograph #print #risography #riso #risoprinted #peopleofprint #print #printmaking #athmosphere #mood #lookandfeel #maculature #maculatures #multipleoverprints #accidentalimage #accidentalimages #symmetric #designbychance #coincidence by @maler.mueller

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5 years ago

Double plate printing 2/2
Double plate printing is similar to what we know as the "duplex" technique from offset printing. Since there one interprets a colour channel with two different gradation curves that are printed with two inks, one can set exactly which image information is to be printed with which ink. In double plate printing, the entire tonal range of a channel is used to be printed with the two chosen inks. The result is therefore less predictable, but can turn out to be more fascinating.

Forest (2021)
247x196mm

See the following colour combinations, using the magenta-channel of a CMY-separated image:
Federal Blue+Green
Flatgold + Yellow
Green + Yellow
Red + Flatgold
Red + Yellow
Fluo Pink + Teal

Photography: Jonas Hänggi @jonasnilshaenggi
Research in Printmaking as Poetry, Experiment 6/18

#risograph #print #risography #doubleplateprinting #riso #risoprinted #peopleofprint #print #printmaking #athmosphere #mood #lookandfeel #colorseparation #colorseparations #colorseparationexplained by @maler.mueller

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5 years ago

Double plate printing 1/2

Printing the same color channel data twice with two different inks doesn’t seem to make too much sense. The opposite is the case: Not only the colourspace of the printed picture is enlarged by this method, but there are even atmospheric looks created. The secret behind this unpredictable mixing of the two inks by printing lies in theirs different inherent brightnesses: When interpreting the same data twice with different luminous values, you get a doubled amount of information per dot, which results in a more dense and atmospheric print result.

Landscape (2021)
247x164mm

See the following colour combinations, using the magenta-channel of a CMY-separated image:
Flatgold + Yellow
Green + Yellow
Red + Flatgold
Red + Yellow
Fluo Pink + Teal
Teal + Federal Blue

Photography: Jonas Hänggi @jonasnilshaenggi
Research in Printmaking as Poetry, Experiment 6/18

#risograph #print #risography #doubleplateprinting #riso #risoprinted #peopleofprint #print #printmaking #athmosphere #mood #lookandfeel #colorseparation #colorseparations #colorseparationexplained by @maler.mueller

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5 years ago

Fondation Beyeler Remixes, 2021
Combinations of selected C-, M- and Y-channels of the images „Sky On Fire“ and „Glühwein and Snowman“, 2021.
Photography: Patricia Grabowicz @patigrabovicz

Risographies, 3C (Yellow, Fluo Pink, Blue)
Research in Printmaking as Poetry, Experiment 4/18

Note on mimesis in reproduction:
When interpreting photographs in print, the question of the relationship between image and reference arises. According to the Aristotelian theory of mimesis in drama (poetics), it is more interesting to represent a plausible world than a completely detached one. For the field of reproduction, this means that printing a photographic image in a completely fantastic way seems to be less interesting for our visual perception than interpreting it in a way that the outside world could be like. The link between image and reference should therefore be carefully considered when interpreting photographs in print.

#CMY #colorchannels #colorchannelswap #colorchannelshift #colorchannelcombinations
#risograph #print #printmakingaspoetry #printedpoetry #risography #riso #risoprinted #peopleofprint #printmaking #athmosphere #lookandfeel by @maler.mueller

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5 years ago