Ratan Parimoo: Boats In Srinagar I | Silk Screen Serigraph on Paper, 30x35-inch, 2012
The challenge:Reproducing the transparency of the colours was crucial. We have tried to capture the liquid effect by creating water patchesThe process: Cloning Parimoo’s style, the procedure of printing began with the application of colours followed by linear line drawingsTech-specs: 23 tones of colours /screens printed on the Somerset Satin White – 300gsm paper. In a span of 20 days (with separation and printing), Marvel produced 90 editions
Thota Vaikuntam: UntitledSerigraph on Paper 21.5x29.75-inch, 2011
The challenge:: The colourful palette of the painting meant tweaks to
Marvel’s style. “The serigraph demanded us to serve it with flat colours while showing various gradations in few tones like greys and pinks. Reproducing the golden dots and maintaining the cut-to-cut printing without overlapping the tones into one another colour were especially challenging.”Tech-specs: 75 limited editions of the 21.5x29.75inch serigraph were created
Shanti Dave: LifeSilk Screen Serigraph, 14.50x35inch, 2013
The original: The original is Dave’s national award-winning work in late 1950’s. It was painted on a canvas with acrylicThe process:Reproduced from a transparency slide, the serigraph required to produce dark and light tonal valuesTech-specs:90 editions were created in 35 days
(with separation and printing). There are over 49 tones of colours/screens printed on Canson 300gsm paper
Vinita Karim: Pomegranate MountainSerigraph on Paper, 30.5x23-inch, 2013
The challenge: The serigraph required reproduction of the typography, the motif, and the complicated textureThe process: The tonal values and different hues were created with lots of layers to create transparent opaque, and overlapped effectTech-specs: The length of the run was 23 days (with separation and printing). 125 editions were created with over over 39 tones of colours/screens on Natural Evolution High Print White 280gsm paper, mesh 100 and 140s
Shri Natu Parikh: By The SeaSerigraph on Paper, 28x40-inch, 2014The challenge: “Shri Natu Parikh’s painitng brings
together the beauty of colours, composition, light and perspective.” Marvel had to include bold blocks of colours and strong diagonal lines with various shades and tones. The process: The serigraph was created using the brush and knife techniqueTech-specs: The oil colours effect was created using
42 tones of colours /screens on Natural Evolution White, 280gsm and Mesh 80, 120 (nylon) 140 (polyester). Over 30 days, Marvel produced 300 editions
RAVINDRA SALVE: Essence of DDLJSilk Screen Serigraph, 28x40-inch, 2014
The challenge: To maintain the colour harmony with registration and
transparency. “To bring the transparency feel, we worked over it, again and again. It was difficult to control and balance it overall
The process: Like the artist, Marvel has used layers of thick colours and various sizes of brushes. “Thick layers of blue, red and gold have been used in certain parts while the golden colour used in the hair has been achieved through embossingTech-specs: Released as the official merchandise for the Yash Raj Films cult, Marvel created 300 editions over 90 days (with separation + printing). 63 tones of colours /screens have been used on the 280gsm Natural Evolution White paper
Natu Mistry: Virasat???
The original: The detailing of day and night, the elements around and the soft colours bring to the fore rich cultural heritage of IndiaTech-specs: The length of run was 45 days (with separation and printing) for creating 300 editions. The serigraphs has over 41 tones of colours /screens. The paper used in this serigraph is Natural Evolution White, 280gsm. Mesh 120 and 140 (polyester)
Akbar Padamsee: The FaceSerigraph on Paper, 29.5x20.5 inch, 2009
The challenge:To maintain the balance of light and dark shades and opaque and transparent application of colours. In addition are the tonal values of sepia. "There are various hues and to maintain the same in all the prints with registration and printing is onerousThe process:The feel of the tones, watercolour effects, the strokes of artist were matched by using the brush and water colours/monochromatic colours and the different gradations in sepia colourTech-specs:45 serigraphs printed on Somerset Velvet White – 250gsm with 29 tones of colours /screens. The job was completed in 36 days
Ravindra Salve: Shantinath BhagwanSilk Screen Serigraph on Paper, 32x25inch, 2014
The challenge:Each and every part of the print required different skill to handle it. The most important part, the balance of whiteness in the background.The process:Once the colours were applied, it was then that the white layer was printed. The golden dots are given an embossed effectTech-specs:There are over 41 tones of colours /screens. The paper used is Natural Evolution 280gsm. Mesh: 80, 100 & 140s. In 45 days 500 editions were created
Marvel, Marvellous, Marvelicious
Marvel, Marvellous, Marvelicious
Earlier this month, marvel turned 12. The Ahmedabad-based boutique art house's mettle is the technique they deploy to create serigraphic reproduction of contemporary art. The national and international awards they have bagged are a testimony to this. The father-son duo of Dhanvi Shah and Chaitya Shah have enthralled print experts and collectors alike.