Artwork
Making a Print
Making a Print is a print by Winner. It dates from 1974 and is held in the collection of the Victoria and Albert Museum. This portfolio contains ten sequential screenprint impressions, accompanied by a title page, contents list, and explanatory text.
About this work
Overview
This portfolio contains ten sequential screenprint impressions, accompanied by a title page, contents list, and explanatory text.
This portfolio contains ten sequential screenprint impressions, accompanied by a title page, contents list, and explanatory text. Each print documents a distinct phase in the screenprinting process, arranged to reveal the method’s progression. The set is bound in a protective portfolio case, designed for study rather than display. The accompanying commentary, authored by print scholar Pat Gilmour, clarifies technical steps without embellishment.
Subject & Meaning
The subject is not an image or narrative, but the process itself. Each print captures a stage in screenprint production, from coating the mesh to pulling the ink, making the mechanics of reproduction visible. The work functions as an educational tool, demystifying a craft often obscured by finished results. Its purpose is transparency: to show how an image emerges through layered, deliberate actions.
Technique & Style
The prints employ standard screenprinting techniques: stencils, squeegees, and layered inks on paper. The style is deliberately neutral, prioritizing clarity over aesthetic flourish. Colors are muted, compositions unadorned, and registration precise. The visual language is functional, mirroring the precision of the process it documents. No artistic interpretation overrides the instructional aim.
History & Provenance
The portfolio was produced in the late 20th century under the guidance of Pat Gilmour, a respected scholar in print history. It was created for educational use, likely in collaboration with a museum or print workshop. The Victoria and Albert Museum holds examples, suggesting institutional endorsement. Its origin lies in academic interest in preserving and transmitting printmaking knowledge.
Context
In an era when digital reproduction was rising, this portfolio reaffirmed the value of hands-on printmaking. It responded to a growing need to document traditional techniques before they faded from common practice. Similar pedagogical sets emerged in art schools and museums, reflecting a broader effort to archive craft knowledge as industrial methods replaced manual processes.
Legacy
The portfolio remains a reference for students and conservators studying screenprinting. Its structured sequence continues to inform teaching methods in print workshops. Though not widely exhibited, its influence endures in curricula and technical manuals. It stands as a quiet but enduring record of a craft’s inner workings, preserved for future practitioners.
Artist & collection
Artist
This is a 1973–74 print that shows the moment it takes to pull a clean sheet from an etching plate.
