Three layers. Three chances to get it wrong. But that's screenprinting — you commit to every pull, every registration mark, every colour decision before you see the result.
Always The Opposite started as a reaction to doing what everyone expects. The obvious choice, the safe path, the way things have always been done. This piece celebrates the stubborn ones who go the other way.
The typography hides in plain sight. Built into the layers rather than sitting on top. You'll spot letters emerging from the ink, words forming where you didn't see them before. It's the kind of detail that reveals itself over time — the opposite of instant gratification.
That vertical format isn't accidental. Most prints go horizontal. Most walls expect horizontal. This one stands tall and narrow, designed for the spaces others ignore — hallways, narrow walls, that gap beside your door that never gets anything.
Each print gets hand-pulled on Somerset Satin, 400gsm. Heavy enough to matter, smooth enough to take the detail. The registration has to be perfect across all three layers or the hidden type disappears. No room for error when you're only making 20.
Twenty years learning screenprinting the proper way. Now I tear up the rules. Hand-mixed inks. Deliberate imperfections. Registration that's tight where it needs to be, loose where it adds character. The opposite of what they taught me at Camberwell.
Details:
- 3-layer hand-pulled screenprint with hidden typography
- Limited edition of 20
- 145 x 670mm (tall vertical format)
- 400gsm Somerset Satin paper
- Signed and embossed
- Available unframed or framed
Ships wrapped in acid-free tissue, in a sturdy tube. Frame with UV-protective glass if you want it to outlive us both.
This is for people who understand that the best things don't announce themselves. Who appreciate the craft in what's hidden as much as what's obvious. Who have walls that don't fit standard formats and refuse to compromise.
