There’s a financial benefit to limiting your palette, too: as each new colour has to be printed separately, if you’re paying someone else to print for you, you’ll be charged for each one – which can quickly get expensive. If you’re printing your own, of course, you’ll be spending more on inks.
Above Sebastian Lester explains: “Flames is about big concepts. Love, life and eternity. I’ve drawn on powerful symbolism and our rich calligraphic heritage to develop this work... The aim was to try to create a dynamic, majestic, and hopefully beautiful piece of ‘type art’ that truly stands the test of time... I’m really proud of Flames. Below “I like to think that almost anyone can achieve almost anything in life. It’s all about passion, focus, and commitment. I wanted to design a dynamic, inspirational poster that referenced this self-help adage. It’s a three-colour screen print with a very nice metallic silver ink.”
Many find that working within a limited palette is part of the fun – and it’s certainly part of the skill. A solid knowledge of colour is key: being creative with halftones or selecting a clever colour for the paper (or whatever you’re printing onto) that becomes an integral part of the design can make all the difference.
The key thing is to have an image that’s fully thought-out in terms of how it will be printed. This takes careful refinement: don’t expect to arrive at your image in a couple of sketches.
Sebastian Lester says: “There are limitations in screen-printing and you should take them into consideration from the offset. I think screen-printing works best with strong graphic images with bold, flat colours.”