The photographic film sheet has a design in black. This is a prototype for the lithograph or the etching which is listed in the Baro catalogue, no.116 or 117. The item listed as Baro 116 was eventually produced using lithography. The item listed as Baro 117 was eventually made into a etching. Both were different sizes. This film is quite different to either prints. However, the acetates are easily remade into any size in a darkroom.UNSIGNED and made circa 1978/79.
Sheet size 395 x 295mm
‘Photographic film stencils allow the reproduction of an image by mechanical means and again the stencils are prepared away from the screen and adhered to it when completed. Stencil preparation is perhaps one of the more important and vital stages in the whole process at kelpra Studio. The majority of stencil preparation is photographic, allowing manipulation by the artist and the master printer alike. Sometimes the artist becomes directly involved with the preparation-a print may even result from this very involvement-or not. The final positives which are used to make the photographic stencils are made by the several methods; direct drawing onto a translucent material called ‘Kodatrace’, cut film or by actual photography. All of these methods, giving different characteristics to the finished image, enable a positive film to be developed which is then transferred onto stencil material, developed and adhered to the screen ready for printing.’
Quote from: Kelpra Studio. The Rose and Chris Prater Gift. Artists’ prints 1961-1980. (Pages 63/64)
Reference: Baro 116 (or 117)