The layered vinyl process is not too dissimilar to the steps used when creating a multi-color screen print since the process involves the cutting of "stencils" for each color and the need for careful registration of each stencil during the "printing" or assembly stages. The essential difference being what would be the open area in a traditional screen stencil now becomes the color layer in vinyl since I remove or "weed" the traditional blocked areas of the screen stencil.
The 5 key steps are indicated on the left. I work usually from my own photographs or downloaded royalty free images spending time in Photoshop or similar editors preparing the image ready for the cutting stage. Early work was cut by hand but I now use the computer and a vinyl cutter - essentially a pen plotter with a rotating knife replacing the pen - for this step. That has allowed me to work in much greater detail and cut and assemble images with incredibly small parts.
The 5 key steps are indicated on the left. I work usually from my own photographs or downloaded royalty free images spending time in Photoshop or similar editors preparing the image ready for the cutting stage. Early work was cut by hand but I now use the computer and a vinyl cutter - essentially a pen plotter with a rotating knife replacing the pen - for this step. That has allowed me to work in much greater detail and cut and assemble images with incredibly small parts.
I generally work with four main layers or colors although I have recently introduced additional color to enhance the final image or bring additional focus to a particular area. I mostly use sepia tones (light, medium and dark brown plus black) or greyscale tones (light, medium and dark grey plus black) in each case cutting and assembling the image from the lightest to darkest layers.
Vinyl can be an unforgiving medium at times particularly when dealing with small intricate parts. Accurate registration of each vinyl layer is critical and I have often ruined a piece on the very last layer due to impatience. I currently use smooth, hard white acrylic substrates on which to mount the vinyl. This allows the work to be framed without glass and the contours created by the layers to be visible. Earlier work was created on white Illustration board and mounted behind glass for protection.
Vinyl can be an unforgiving medium at times particularly when dealing with small intricate parts. Accurate registration of each vinyl layer is critical and I have often ruined a piece on the very last layer due to impatience. I currently use smooth, hard white acrylic substrates on which to mount the vinyl. This allows the work to be framed without glass and the contours created by the layers to be visible. Earlier work was created on white Illustration board and mounted behind glass for protection.
