Souk Verde, Kinky Ebony, Atlantic Horizon & Gueliz Nuit
This lithographic poster is part of the Tessellée Marocaine series. Featured here is Souk Verde, Kinky Ebony, Atlantic Horizon, and Gueliz Nuit, the seventh in a series of eight. Created in 2017 after a trip to Marrakech and inspired by the colours, tiles, and architecture of Morocco. Such patterns often avoid using figurative images due to religious restrictions and designs are often based on repeated squares and circles. These are often overlapped and interlaced, along with arabesques, to form intricate patterns and tessellations. The complexity and variety of images used in Islamic art have evolved over centuries, from simple stars and lozenges to more intricate patterns in the 13th and 16th centuries. This series, although made in Manchester, England gives special thanks to the staff at Le Riad Jardin Des Rêves, Marrakech, Morocco.
This lithographic poster is part of the Tessellée Marocaine series. Featured here is Souk Verde, Kinky Ebony, Atlantic Horizon, and Gueliz Nuit, the seventh in a series of eight. Created in 2017 after a trip to Marrakech and inspired by the colours, tiles, and architecture of Morocco. Such patterns often avoid using figurative images due to religious restrictions and designs are often based on repeated squares and circles. These are often overlapped and interlaced, along with arabesques, to form intricate patterns and tessellations. The complexity and variety of images used in Islamic art have evolved over centuries, from simple stars and lozenges to more intricate patterns in the 13th and 16th centuries. This series, although made in Manchester, England gives special thanks to the staff at Le Riad Jardin Des Rêves, Marrakech, Morocco.
This lithographic poster is part of the Tessellée Marocaine series. Featured here is Souk Verde, Kinky Ebony, Atlantic Horizon, and Gueliz Nuit, the seventh in a series of eight. Created in 2017 after a trip to Marrakech and inspired by the colours, tiles, and architecture of Morocco. Such patterns often avoid using figurative images due to religious restrictions and designs are often based on repeated squares and circles. These are often overlapped and interlaced, along with arabesques, to form intricate patterns and tessellations. The complexity and variety of images used in Islamic art have evolved over centuries, from simple stars and lozenges to more intricate patterns in the 13th and 16th centuries. This series, although made in Manchester, England gives special thanks to the staff at Le Riad Jardin Des Rêves, Marrakech, Morocco.
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Title: Souk Verde, Kinky Ebony, Atlantic Horizon & Gueliz Nuit. Series: Tessellée Marocaine.
Year: 2017. Size: A2 | 420 x 594MM | Portrait. Process: CMYK. Lithographic Print.
Stock: 200GSM Fedrigoni Arena Smooth. Initial Print Run: Limited Edition 75 (5 Signed). Additional Details: Number seven in a series of eight.Note: These details describe the Lithographic Masters only and not Digital Slaves, which are reprodutions.
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The Press Experience presents a unique opportunity for patrons to witness the entire printing and production process and take possession of the very first signed and numbered Lithographic Master. This exclusive opportunity is available to only one customer. It involves observing the artwork being printed from a digital file to its final product. Given that this particular artwork or version will never be reprinted, the patron's purchase will be a one-of-a-kind piece. Typically, only two to a dozen copies are signed and numbered. All Lithographic Masters are printed on high-quality stocks using professional presses and often feature additional spot colour inks or varnishes, as well as other specialist printing techniques. Upon purchasing the Press Experience, the patron will be contacted to discuss a suitable time for them to attend the press, and every effort will be made to accommodate their needs.
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Lithographic Masters are the original and authentic masters, produced during the first and only print run. These Lithographic Masters are usually not signed or numbered and are printed in slightly higher numbers, usually ranging from ten to fifty. Since these are the first-run Lithographic Masters printed during the Press Experience, they are usually produced on the same high-quality stocks and often share the same specialist printing techniques.
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These are digital copies of the original masters, usually produced in smaller sizes and larger quantities, ranging from ten to two hundred copies. Digital slaves are often unsigned, but there are exceptions. They are usually printed on different paper stocks than the lithographic masters and are unlikely to include special printing techniques such as varnishes or spot colours.