"Cowboy didn't know what would come next"


This piece is about absorption, identity, and uncertainty. There has been a lot of physical and mental struggle going on for me lately.

 Especially when it comes to creating. I feel as if I'm about to be absorbed into something unfamiliar and strange. Maybe that's just a redefinition of character, but that concerns me because I've always felt a strong sense of self. It's frightening.

How I make art is affected, currrently I'm not able to  bring things into completion due to how it makes me feel physically.

I've been trying to make pieces that seem to take my mind to cliffs. I'm worried if I go past those boundaries I fear I may not be able to create anything. It's a new and bizarre feeling to me. It's restricting. But I'm still trying to make things. (A lot of good ideas have to get set aside or tossed out.)

This piece is trying to capture some of that essence of not knowing what's next on a journey. I have many really dope stories I'd like to tell. Especially some from my own life. But just like any journey I have to see where the next step leads. In the past hard times has lead to good work from me. I desire to reach stable ground so I can make freely again. 

Process Stencil Painting


One process I like to do is make a line art Stencil for a piece. I usually have some backgrounds that I've made hanging out.  I've rediscovered experimenting.

Usually I do a print of the Stencil in a light color on whatever background. Then  I proceed to paint in the spaces. It's sorta like marking my own paint by numbers.

It takes some time and if I were making true editions it would be pointless, but since I'm not right now - it's fun. After I've painted in the spaces I come back with the screen or Stencil and print the darkest color for the line art. 

Making small Editions


Last weekend was the first time I worked on creating a small edition all at once. It took about three to four days. I make my pieces with 11x17" screens and the garment is already constructed. The process is time consuming, but having all the pieces together and ready is a nice feeling. I have several designs planed out and currently I'm looking for a manufacturer. We'll see what comes next. 

Looking for water


Lately I've been asking myself is this the right thing for me over and over again. It seems to apply to a number of things and life just seems to be about choices right now.

 "...The search for water would have to continue" - (The Adventurer was beginning to be effected by his surroundings. The stream he had found seemed to not be the water that would provide the nourishment he needed.) A little one off piece I made based on recent moods. Screenprinting +painting #taytaypierre #handpainting #screenprinting

Choosing a white


White is one of the most important inks that I use in my shop. I like to make a lot of pastels or just use white in general when it comes to printing. I do a lot of discharge water based printing and I've tried several whites. If your like me and your at a point where you don't have the extra money to spend trying all the white inks out there, let me tell you what I've learned so far. The Ryonet White Discharge Ink is nice and crisp. After washing, the ink still holds a brilliancy. The downside to this ink is that it needs to be used fairly quickly. Like all discharge inks if left sitting around, they will cake up and become harder to print with. The other disadvantage to having your ink cake up is that it will clog your screen. This Forces you to have to wash your screen out regularly, or makes it extremely difficult to get a good print. CCI is another company that I use. They have a CCI Enviroline D-bright white that I do not recommend. The ink does not seem to discharge (go in and dye/bleach) the fiber as well as other inks I've used. What works much better as a discharge white is CCI's white Under base Discharge Ink. The Under base is a decent to solid white substitute. Usually and underbase is used before laying down other colors.  My main issue with the Under base as well as the D bright is that there are fumes that can be wearing on the lungs. Fumes that occur pre-cool. With all Discharge inks it's good to have the proper ventilation and/or a respirator. The activator in Discharge Ink can cause metal fume fever. Which if I've experienced causes slight hallucinations. Hard to say if I truly experienced the fever, I was exhausted.  So be careful, wear a mask. I've only messed with one plastisol white ink and that is the Starplex low bleed white. It does a decent job. Not super blown away from it, but I've gotten some good prints from it. 

I hope my light review of white inks helps some. I'm sure there will be more reviews to come in the future. Good luck Printing. 

All Black Ink


Begining of this month I converted my printer to an all black ink system. Making film positives can be a breeze if you got the right setup. Though buying the epson print cartridges at $23 a pop adds up after a while. I saved up some cash and got these refillable cartridges. Mercury was still in retrograde when I installed it so for sure shit didn't work from jump. But after a week and a half finally got it going. Now I'm printing off film positives like it's nothing. Definitely worth the conversion. 

Why Direct to Garment Printing Didn't work for my Brand

To put it simply, colour. Most DTG machines available to the average consumer (me) lack the capacity to produce color with fidelity. It was that or the range of colors was limited to the point where I couldn't accomplish my intentions with an item of clothing. Color is incredibly important when creating visual products or pieces. Color resonates with people whether they are conscious to it or not. People subconsciously pick up on intent and color is one of the fundamentals of visual language. There are different whites, grays, and blacks and they all say different things. Visual language is married to the subtle and changes in the subtle can cause ripples that will completely distort the message of your work.

I was super pumped about using DTG services being a one man clothing company. I was stoked that I could just focus on design and have others produce my designs and possibly even ship them to customers for me. I did research and selected a few companies to try samples from. Initially starting with a shirt printed with a machine's color swatches, I'd go from there. I spent many hours reconfiguring my designs to meet the color range of a company's printer. I hungrily waited for new samples to arrive in the mail, so I could be one step closer to launching my brand. Unfortunately all the results left me feeling deflated and much poorer. The shirts just felt lifeless, the colors were empty and the shirts looked like they were made by a machine - without love. Another way to describe it was that the DTG shirts I had made lacked vibrancy and looked mediocre in comparison to what I could create with my traditional screen print setup and discharge Inks.

Ultimately it was a good experience learning what I didn't want to be incorporated into my clothes and also realizing when you have a shit design. I feel like DTG machines have their place in the screen printing industry. I still think the idea of them is cool and could be used in tandem with hand methods to create something interesting. Though when it comes to buying or creating something truly unique I don't think they are the answer.