Iridescence

Mica’s iridescence is a result of thin-film interference, defined as a “natural phenomenon in which light waves reflected by the upper and lower boundaries of a thin film interfere with one another, either enhancing or reducing the reflected light.” 

If the waves reflected off both parts of the are in sync, they will amplify eachother, enhancing the reflected light (constructive interference). If they are opposite each other, they will cancel eachother out, reducing the reflected light (destructive interference). When the white light which consists of different wave lengths (colors) hits the surface, some colors are intensified while others are attenuated. Seeing the surface from a different angle changes the relationship between these waves, which determines which colors we see and which ones get blocked out. (Wikipedia).

Process

worksheet prints are made through a process that combines elements of architectural representation, printmaking, photography, collage, and cosmetics. It involves a lot of rigorous testing of material properties to make the iridescent inks suitable for screen printing. It also involves a lot of excitement, frustration, and stimulation throughout.





First iridescent mica powders are mixed with a clear screen printing medium to create the inks. The ink is then pushed through the screen with a squeegee to imprint the image onto the substrate. This test screen includes scales of halftone fills and hatch patterns at different line weights to test the appearance of each. 

a test print of multiple colors. notice how the appearance of a blob of ink changes compared to a thin layer. Ink samples are tested to see which angles yield which colors, in order to choose colors that work eachother throughout the different angles and with the overall theme of the print (somehow the color yielded by viewing the subject at the sharpest possible angle always ends up being my favorite).







The opening size of the screen must be large enough for the pigment molecules to pass through the screen onto the paper. Typically when printing with glitter or any solid materials, low resolution screens are used in order to accomodate the size of the particles (80-100 mesh count). To achieve the high level of detail afforded by 200-250 mesh screens, only the smallest of commercially available glitters particle resolution will work with this technique.

The failed tower shown here was printed with a 230 mesh screen, and the successful one on the left with a 200 mesh screen. The difference in opening size between the two made the difference of any of the mica particles passing through versus only the gel medium passing through, without any of the pigment dust.


When the colors and inks are squared away (or sometimes before), print runs are done in a printing studio in LA.  Runs take place in one or a few sessions depending on the size and number of layers. Each layer of color on a print requires another screen to be set up. A certain number of prints are done which are checked and selected for their quality to be included in the edition. After that the screens are washed out and reused, and the designs are not re-printed.






The result is a print that contributes to the variety of everyday experience by reacting to the various lighting conditions and viewing vantages! I’m constantly exploring and trying to improve my process to the next level and push the boundaries of what’s possible for worksheet.

iridescence

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